I remember staring at the blurry, washed-out infrared photos I’d gotten from my first converted camera. I’d spent a small fortune getting my Nikon D7000 converted to full spectrum, and then another chunk of change on a bunch of different filters, convinced I was about to open a whole new world of visual magic. It felt like buying a fancy paintbrush and expecting to be Picasso overnight. The reality was… less inspiring.
Then came the talk about stacking filters. Specifically, someone suggested using a 830nm screw-on filter on a 590nm converted camera. On paper, it sounded like a recipe for disaster, or at least, a muddy mess. But necessity, as they say, is the mother of invention, and my wallet was screaming.
So, does slapping a super-long-pass 830nm filter onto a camera already modified for a 590nm conversion actually yield usable results, or is it just a fool’s errand?
Why You Might Even Consider This Madness
Alright, let’s cut to the chase. Why in the seven hells would anyone take a camera already modified to ‘see’ around the 590nm mark – that’s typically the point where the camera’s internal hot mirror is removed, letting in a good chunk of the infrared spectrum along with visible light – and then put an even deeper infrared filter, like an 830nm, on the front? It sounds like trying to deafen yourself with two pairs of earplugs.
The common wisdom, and frankly, the easy path, is that if you want 830nm IR, you get your camera converted to 830nm. Simple. Clean. No stacking required. But here’s the rub: camera conversions aren’t cheap. Mine set me back about $350 a few years back, and that was for a mid-range model. If you want to switch between different IR ‘look’ conversions – say, from a dramatic full-spectrum to a crisp 850nm, or the more subtle 720nm – you’re looking at buying whole new cameras or paying for multiple conversions. That’s where the idea of filter stacking on a single modified body starts to look appealing, even if it’s a bit like a DIY hack.
A 590nm conversion gives you a lot of flexibility. It lets in visible light and a good portion of the near-infrared. This means you can achieve a variety of looks depending on the screw-on filter you use. For example, a common setup is a 590nm converted camera with a 720nm filter. This cuts out most visible light and gives you that classic, dreamy infrared look with white foliage. It’s a good starting point for many landscape photographers.
Now, the 830nm filter. This is much deeper into the infrared spectrum. Think of it as ‘far infrared’ or ‘near-black’ IR. At 830nm, virtually all visible light is blocked. The results are usually stark, high-contrast images with deep blacks and intensely bright whites, often producing a surreal, almost alien aesthetic. The foliage turns white, skies get dark and moody, and any shadows become profound voids. It’s a look that can be incredibly dramatic but also difficult to control without the right setup.
So, if you already have a 590nm conversion and you want to experiment with that deep 830nm infrared look without sending your camera off again, the logical (or perhaps illogical) step is to screw on an 830nm filter. The idea is that the 590nm conversion allows a broad spectrum to enter the camera, and the 830nm filter then acts as a very aggressive gatekeeper, letting through only those wavelengths at 830nm and longer.
Honestly, my first attempts were pretty dismal. I was expecting clear, deep blacks and bright whites, but I got images that looked like someone had smeared Vaseline on the lens and then run them through a photocopier on its last legs. It was noisy, grainy, and lacked definition. I nearly gave up and chalked it up to a wasted $50 on the filter. But then I started digging into settings and understanding how the light was actually behaving. It turns out, it’s not as straightforward as just sticking a filter on and shooting.
The Technical Jujitsu: How It Actually Works (or Doesn’t)
Okay, let’s get down to the nitty-gritty. When you send a camera off for modification, the most common thing they do is remove the ‘hot mirror’ filter that sits in front of the sensor. This filter is designed to block infrared light, which cameras aren’t supposed to ‘see’ because it can mess with color accuracy and autofocus. By removing it, you allow infrared light to hit the sensor. The ‘conversion point’ – like 590nm, 720nm, or 850nm – refers to the wavelength at which the original hot mirror was cut off. So, a 590nm conversion means the original filter blocked everything below 590nm, and now your sensor can see from 590nm upwards.
A 590nm conversion is often called ‘full spectrum’ or ‘color infrared’ because it lets in a significant amount of visible light along with the near-infrared. This means if you shoot without any additional filters, you get images with unnatural, vibrant colors (think pink skies and yellow foliage). To get ‘true’ black and white infrared, you usually need to add a filter to block out most of the visible light. A 720nm filter is popular for this, yielding the classic white foliage and dark skies. A 590nm conversion plus a 720nm filter becomes a very effective IR setup.
Now, here’s where stacking comes in. When you put an 830nm screw-on filter on a 590nm converted camera, you’re basically asking the camera to pick up light that starts being visible at 590nm, and then asking the filter to only let through light at 830nm and beyond. Think of it like having two sieves. The first sieve (the camera’s sensor response after conversion) lets through a wide range of particles.
The second sieve (the 830nm filter) is much finer, only letting through the smallest particles (the 830nm wavelengths). This works because the 830nm filter is designed to block wavelengths shorter than 830nm. Since the 590nm conversion has already removed the camera’s internal blockage, the 830nm filter is the primary gatekeeper for which IR wavelengths get through.
The catch? The 590nm conversion isn’t perfectly transparent to all wavelengths above 590nm. There’s still some residual filtering happening, and the sensor itself has its own spectral response. So, while the 830nm filter is doing its job blocking out visible light and shorter IR wavelengths, you might not be getting the ‘purest’ 830nm signal.
The camera’s original sensor coating and the way the conversion was done can introduce subtle variations. It’s like trying to hear a whisper in a moderately noisy room; you can still hear it, but it’s not as clear as in a silent room. My first attempts were muddy because I was expecting pristine results, but the reality is you’re working with a system that’s been adapted, not built from the ground up for 830nm.
The practical implication is that you’ll need to use much longer exposures. Because you’re stacking two filters (the camera’s internal modified glass and the external 830nm filter), you’re blocking a lot more light. We’re talking seconds, sometimes even tens of seconds, especially in lower light conditions. This is where a sturdy tripod becomes a must. Forget handheld shots unless you have a very specific, extremely bright lighting situation and are aiming for a very high ISO, which usually introduces noise. (See Also: Are The Aluminum Pillars Supposed To Touch The Action Screws )
Another factor is white balance. With IR photography, especially with conversions that retain some visible light or when using deep IR filters, the ‘auto white balance’ is utterly useless. You’ll need to set a custom white balance using a gray card or shoot in RAW and adjust in post-processing. The RAW files will look bizarre, often with a strong color cast, and that’s where the real magic of post-processing comes in to extract the monochrome image you want.
What to Look for in an 830nm Filter for Your 590nm Camera
So, you’ve decided to take the plunge and try this filter stacking method. Good for you. Don’t say I didn’t warn you it can be fiddly. When you’re looking for an 830nm filter specifically to use on a 590nm converted camera, there are a few things that matter more than others. Forget fancy brand names; focus on the glass and the build quality.
First, the glass quality is most important. You want an 830nm filter that is precisely manufactured to block out everything below 830nm. Cheap filters might have uneven transmission, meaning they let through stray wavelengths of visible light or shorter IR wavelengths.
This will lead to muddy colors, weird color casts in your monochrome images, and reduced contrast. Look for filters that explicitly state their transmission curve or at least have reviews from serious IR photographers.
I’ve found that filters from companies specializing in scientific optics or dedicated IR filter manufacturers tend to be better, even if they cost a bit more. I spent about $70 on my current 830nm filter, and it was worth every penny over the $30 one I bought first that made everything look like I’d shot through dirty water.
Second, the screw-on threads need to be good. This sounds obvious, but a poorly machined thread can make it difficult to attach and remove the filter, or worse, it can get stuck. Also, make sure the filter is the correct size for your lens. Most modern lenses have the filter size marked on the front, usually in millimeters (e.g., 77mm). If you have multiple lenses with different thread sizes, you might need step-up rings (e.g., a 52mm to 77mm ring) to use a larger filter on smaller lenses, but be aware that step-up rings can sometimes cause vignetting (darkening at the corners of your image), especially at wider focal lengths.
Third, consider the thickness of the filter. Some very deep IR filters can be quite thick, which might cause issues with clearance on wider lenses, potentially leading to vignetting or even the filter hitting the lens elements. This is less of an issue with standard screw-on filters for IR than it is with some specialized filter systems, but it’s worth keeping in mind. For a 590nm conversion, you’re likely using a standard screw-on, so thickness is usually manageable.
Here’s a quick breakdown of what I look for:
| Feature | Importance for 590nm + 830nm | Verdict |
|---|---|---|
| Wavelength Accuracy (830nm) | Extremely High | Absolute must. Anything less and you’re wasting your time. |
| Optical Clarity & Coating | High | Reduces internal reflections and ghosting. Key for contrast. |
| Thread Quality & Fit | Medium-High | Smooth operation prevents frustration and potential damage. |
| Filter Thickness | Medium | Can cause vignetting on wide-angle lenses. Check specs. |
| Multi-Coating | Medium | Helps with flare and ghosting, though less important for B&W IR. |
| Brand Reputation | Low | Focus on specs and reviews from IR shooters, not just brand name. |
One common mistake is to assume any filter labeled ‘830nm’ will perform the same. They don’t. I learned this the hard way after buying a dirt-cheap filter online that promised 830nm but clearly let through a significant amount of 720nm light, ruining the distinct look I was going for. It’s like buying a steak and getting mystery meat – you don’t know until you bite into it.
Common Mistakes and How to Avoid Them
Look, I’ve tripped over my own feet enough times in this IR photography game to know where the banana peels are. Using a 830nm screw-on filter on a 590nm converted camera is a bit like navigating a minefield – there are specific pitfalls you really want to avoid if you don’t want to end up with a pile of useless images. The most common mistake? Expecting it to be plug-and-play, or at least, ‘plug-and-pretty-good’.
The biggest blunder is inadequate exposure. Because you’re stacking filters, you’re significantly reducing the amount of light reaching the sensor. A 590nm conversion alone might require a few seconds of exposure in bright daylight.
Add an 830nm filter, and you’re easily looking at 10, 20, or even 30 seconds, depending on the scene’s brightness and your aperture. I once went out shooting and thought I’d nailed the exposure after a few seconds, only to get home and find completely black images.
My mistake? I forgot how much more light-blocking the 830nm filter actually is compared to, say, a 720nm. So, always bracket your exposures or start with ridiculously long times and adjust down. A sturdy tripod is absolutely a must.
You’re not going to get sharp images handheld at these shutter speeds, no matter how steady you think your hands are. I’ve seen people try. It doesn’t end well.
Another common error is incorrect white balance. Auto white balance (AWB) on a 590nm converted camera (especially with a deep IR filter) will be utterly confused. (See Also: Are Black Screws Rust Resistant )
It tries to find a neutral tone based on visible light, which is now mostly blocked. This leads to extreme color casts, often a sickly green or magenta hue, even in your RAW files before you convert to black and white. The fix?
Custom white balance. Find a neutral gray card, place it in the scene so it’s evenly lit, and set your camera’s custom white balance to that. If you forget or can’t, shoot in RAW and use a gray card in post-processing to set the white balance. This is probably the single most important step for getting clean results.
Over-reliance on post-processing. Yes, IR photography, especially with filter stacking, requires post-processing. You’ll almost always be converting to black and white. However, some people think they can ‘fix’ everything in Photoshop. If your initial shot is noisy, lacks contrast, or has weird artifacts due to a bad filter or incorrect exposure, no amount of editing will truly salvage it. The goal is to get the best possible RAW file in camera, and then enhance it. Pushing a bad RAW file too far will just result in banding, posterization, and a generally degraded image. I’ve spent hours trying to clean up shots that were fundamentally flawed from the start. It’s a lesson in humility.
Not understanding the specific look of 830nm IR. People see those dramatic, surreal 830nm images online and expect to get them straight away. But 830nm IR has its own character.
Foliage turns an almost luminous white, skies are deep and velvety black, and the contrast is intense. If you’re not getting that, it might be your filter quality, your exposure, or your conversion. It’s important to manage expectations. It’s not just ‘ infrared’; each wavelength has its own feel.
My early shots were just… dark. I was expecting punchy contrast, but instead, I got muddy shadows. It took me a while to realize I needed to expose for the highlights and let the shadows fall where they may, and then selectively dodge and burn in post.
Finally, trying to shoot video. While technically possible with long exposures and specific techniques, getting clean, consistent 830nm IR video from a stacked filter setup is incredibly challenging and usually not worth the effort for most hobbyists. Stick to stills unless you have a very specific artistic goal and the patience of a saint. I tried it once for a short clip. It was a disaster of flickering light and inconsistent exposure. Stick to stills, people.
People Also Ask:
Can You Use a 720nm Filter on a 590nm Converted Camera?
Yes, absolutely. Using a 720nm filter on a 590nm converted camera is a very common and effective combination. The 590nm conversion allows a broad spectrum of light, including visible and near-infrared. The 720nm filter then blocks out most visible light, yielding that classic, dreamy infrared look with white foliage and dark, moody skies. It’s a much more straightforward setup than using an 830nm filter and generally requires shorter exposures.
What Is the Difference Between 720nm and 830nm Ir Filters?
The primary difference lies in the wavelength of infrared light they allow to pass through. A 720nm filter blocks most visible light but lets through near-infrared starting around 720nm, producing a distinctive look with white foliage and often dramatic skies. An 830nm filter is much deeper into the infrared spectrum, blocking nearly all visible light and shorter IR wavelengths, resulting in starker, higher-contrast images with even more intense white foliage and darker skies, often appearing almost ‘black and white’ from the start.
Real-World Use Cases and Aesthetic Considerations
So, we’ve established that putting an 830nm filter on a 590nm converted camera is possible, albeit requiring patience and a good understanding of exposure and post-processing. But what is it actually good for? What kind of images can you create that you couldn’t achieve otherwise, or at least, not as easily?
The aesthetic produced by an 830nm filter on a 590nm conversion is one of extreme contrast and surreal beauty. Unlike the slightly softer, dreamier look of 720nm IR, 830nm pushes things further. Foliage turns an almost incandescent white, skies become deep, velvety blacks, and shadows are rendered as profound voids. This makes it fantastic for landscapes where you want to emphasize texture and drama. Think stark desert scenes, dramatic mountain vistas, or windswept coastlines. The intense contrast can make even mundane scenes look otherworldly.
One of the most striking uses is in architectural photography. The deep blacks and bright whites can highlight the lines and forms of buildings in a way that’s impossible with visible light. Imagine a modernist building against a deep black sky, its white concrete glowing. Or an old, gothic cathedral where the stone appears ancient and ethereal. The lack of color (as you’re basically shooting monochrome IR) forces the viewer to focus on shape, form, and light.
For portraiture, it’s a more niche application, but can be incredibly effective. The intense contrast can create dramatic, almost ghostly portraits. Skin tones become very pale, and any texture is exaggerated. If you’re aiming for a stylized, avant-garde look, it can be powerful. However, it’s not for everyone, and you need to be very deliberate with lighting and posing. I tried a portrait session with it once, and the results were stunningly unique but definitely not flattering in the traditional sense. The subject looked almost like a porcelain doll. It was a strong artistic statement, but not something you’d use for Grandma’s birthday photos.
I’ve also found it surprisingly useful for capturing specific atmospheric conditions. Think fog, mist, or dust. The way 830nm IR interacts with these elements can create ethereal, moody scenes that are difficult to replicate. The light scattering off particles can create glowing effects or emphasize the density of the atmosphere.
It’s also a way to get a ‘different’ look from a single converted camera. If you’ve already invested in a 590nm conversion and want to explore the look of deeper IR without buying another conversion or filter kit, stacking an 830nm filter is a cost-effective way to experiment. You won’t get the absolute ‘purity’ of a dedicated 830nm conversion, but the results can be very compelling and certainly distinct from what you’d get with a 720nm filter. (See Also: Are Blue Concrete Screws Waterproof )
It’s important to note that the exact look will vary depending on your 590nm conversion’s specifics and the quality of your 830nm filter. Some 590nm conversions might have a slightly different spectral response, and the 830nm filter’s transmission curve is important. My own results often have a subtle, almost imperceptible color cast in the RAW file that I have to carefully remove in post to achieve a clean monochrome. It’s a balancing act.
Ultimately, the real-world use case for this setup is for photographers who want to push the boundaries of infrared imaging and achieve a dramatic, high-contrast, and surreal aesthetic with a single converted camera body. It’s for those who enjoy the technical challenge and the artistic reward of exploring less common infrared territories.
Post-Processing: Turning Mud Into Magic
Let’s be blunt: if you’re expecting to shoot with an 830nm filter on a 590nm converted camera and have it look perfect straight out of the camera, you’re dreaming. This is where the real work happens, and frankly, it’s where the magic is made. The RAW files you get from this setup will likely look… well, like alien landscapes or test patterns. It’s your job to coax them into something visually appealing.
First things first: white balance. As I’ve mentioned, this is a must. If you didn’t set a custom white balance in the camera, you’ll need to do it now. Open your RAW file in your preferred editing software (Lightroom, Capture One, etc.) and find the white balance tool. Use the eyedropper and click on a neutral gray card you photographed, or if you don’t have one, find a neutral-toned area in your image that should be gray or white (like a distant cloud or a neutral rock) and click there. This will neutralize the extreme color cast. It’s common to see a strong green or magenta cast initially, and getting this right is the foundation for a good monochrome conversion.
Once your white balance is set, you’re ready for the monochrome conversion. Most software has a dedicated ‘Black and White’ conversion tool. Play with the individual color sliders. Remember how different colors translate into grayscale tones in infrared. For example, foliage (greens) will likely become very bright white. Skies (blues) will become very dark. Water can take on various tones depending on its clarity and content. Adjusting these sliders allows you to control the contrast and brightness of different elements in your image. Don’t be afraid to push them quite far.
After the initial conversion, you’ll likely need to enhance the contrast. Use the basic contrast slider, but more effectively, use curves or levels. Pulling the black point down and pushing the white point up will give you that deep, velvety black and brilliant white look characteristic of 830nm IR. Be careful not to crush your blacks into pure black or blow out your whites into pure white too much, unless that’s a specific artistic choice. You want detail in those extreme tones.
Noise reduction is another area where you’ll probably spend time. Long exposures, especially at higher ISOs if you’re forced to use them, can introduce significant noise. Use your software’s noise reduction tools judiciously. Too much can make the image look plastic and smooth, removing detail. Too little leaves it grainy and distracting. I usually aim for a balance where the noise is reduced enough not to be distracting, but some fine grain remains to give the image texture.
Dodging and burning is your best friend here. This is where you selectively lighten (dodge) and darken (burn) areas of the image to guide the viewer’s eye and enhance the drama. For example, you might dodge the white foliage to make it pop even more, or burn down the sky to make it darker and more imposing. This manual control is what transforms a technically correct infrared image into a work of art. I spent about 20 minutes on one landscape shot just dodging and burning to make the lone tree in the foreground stand out against the dark sky.
Finally, consider sharpness. While IR photography can sometimes look softer due to atmospheric scattering or lens characteristics, you can often enhance perceived sharpness. Subtle use of clarity sliders or unsharp masking can bring out textures and details. Just don’t overdo it; you don’t want it to look artificially sharpened.
It’s a process that requires patience and experimentation. The RAW files from a 830nm filter on a 590nm converted camera are basically a blank canvas, and your editing software is your paint and brush. My first few edited images looked pretty amateurish, but over time, you learn to see the potential in those strange RAW files and how to bring out the unique character of deep infrared.
Faq: Your Burning Questions Answered
What Is the Best Camera Conversion for 830nm Ir?
For 830nm IR, a dedicated 830nm conversion is generally considered the best. This involves removing the original hot mirror and replacing it with a filter that specifically transmits at 830nm and blocks everything else. While you can use an 830nm screw-on filter on a 590nm converted camera, a dedicated conversion will yield cleaner results, better contrast, and often require shorter exposures because the sensor is only receiving the desired wavelengths.
Will My Autofocus Work with an 830nm Filter?
Autofocus systems typically rely on visible light. When you use a deep infrared filter like 830nm, you block out almost all visible light, rendering the autofocus system effectively useless. You will almost certainly need to switch to manual focus. Many photographers using IR converted cameras learn to estimate focus or use techniques like hyperfocal distance for landscapes.
How Long Should My Exposure Be with an 830nm Filter on a 590nm Converted Camera?
Exposure times will vary greatly depending on lighting conditions, aperture, and ISO, but they will generally be very long – often several seconds to tens of seconds, even in bright daylight. This is because the 830nm filter blocks a significant amount of light. Always use a tripod and be prepared to bracket your exposures or experiment to find the correct settings for your specific scene.
Can I Get Color Infrared Photos with an 830nm Filter?
Technically, with a 590nm conversion, you are still allowing some visible light and shorter IR wavelengths to pass through before the 830nm filter blocks them. However, the 830nm filter is so aggressive that it primarily isolates the 830nm band. The resulting images are almost always converted to monochrome in post-processing because the true ‘color’ information at 830nm is not what most people associate with typical color infrared photography (which is usually achieved with 590nm or 720nm conversions and specific color channel swapping). You’ll get a very monochrome-like appearance, and any subtle color is usually an artifact to be removed.
Verdict
So, after all that fiddling, is a 830nm screw-on filter on a 590nm converted camera worth the hassle? My honest opinion? Yes, but with significant caveats. It’s not a replacement for a dedicated 830nm conversion, and you’ll battle with long exposures and tricky white balance. The results won’t be as clean or as easy to achieve as with a camera specifically converted for 830nm IR.
However, if you already have a 590nm converted body and want to experiment with that deep, surreal infrared look without dropping another few hundred bucks, it’s absolutely a viable option. You can achieve some truly dramatic, high-contrast monochrome images that stand out. It forces you to be more deliberate with your photography and post-processing, which can be a good thing.
The key is understanding its limitations. Don’t expect miracles straight out of the camera. Be prepared for a technical challenge, embrace the long exposures, nail that white balance, and be ready to put in the work during editing. If you’re looking for a relatively low-cost way to explore the extreme end of the infrared spectrum with your existing gear, give it a shot. Just don’t throw away those muddy first attempts; they’re part of the learning curve.
