Digital Infrared Photography: Fujifilm X-E2

Introduction

In my Return to Infrared Photography Part 1 and Part 2, I wrote about using the Sigma SD1 Merrill for IR work. Since then, I’ve moved to a mirrorless IR system.

This article continues that journey, explaining why I chose the Fujifilm X-E2 and the lenses I use—along with example images, a concise post-processing workflow, and a helpful video link. It’s not a deep technical dive; it’s an overview for photographers curious about IR, especially those who favor black-and-white infrared for its expressive potential.

Why I Chose the Fujifilm X-E2

I wanted a compact mirrorless body known to play nicely with IR and full-spectrum conversions. Shared batteries and lenses with my Fuji kit were a must for camper-van travel. The X-E2’s rangefinder style, EVF BW preview, and familiar ergonomics sealed it.

I found a mint X-E2 on the used market, sent it for conversion, and it quickly became my dedicated IR camera.

IR Camera Conversion Process

A student’s results from LifePixel convinced me to convert the X-E2. Turnaround was about two weeks, cost roughly ~$300 with shipping/insurance, and the camera returned spotless. I’ve had zero issues since.

Kolari Vision is another reputable choice. Both offer multiple filter strengths (590, 665, 720, 830nm) and full-spectrum options. I chose Super Color IR 590nm for flexibility and monochrome tonality.

Filter Options

Think of 590nm like using color filters in BW film: it gives you material to shape contrast later. If you prefer straight BW IR with less post, consider 830nm. For maximum experimentation, Full Spectrum plus external filters covers UV → visible → IR, though it’s pricier and more complex.

My travel split is simple: X-Pro3/907x for color; X-E2 (590nm) for BW IR.

IR Shooting & Lens Notes

I travel light: a technical camera (4×5 film & digital) and a Fuji APS-C kit. One reminder, many zoom lenses produce hotspots on converted bodies due to internal reflections/coatings.
Primes have been more reliable for me.

• XF 14/2.8 – favorite wide, clean and consistent.
• XF 23/2 & XF 35/2 – excellent performers, small and sharp.
• Zeiss 32/1.8 – lovely on X-Pro3; occasional hotspots on X-E2.
• Zeiss 50/2.8 Macro – fine below f/8; also my digitizing lens.

The 14-23-35 trio covers most landscapes while keeping the kit compact and dependable.

Some Lens Advice

Test every lens for hotspots under different light and apertures before a trip. Some issues are occasional; others are persistent. If a lens repeatedly ruins files, I retire it from my IR kit.

Post-processing BW IR is its own craft—ordinary scenes in visible light often become quietly magical in infrared.

Post-Processing Infrared Images

1. RAW out of camera (no processing).
2. Custom white balance; red/blue channel swap in Photoshop.
3. Lightroom: refine contrast, color, and WB.
4. Final BW conversion in Nik Silver Efex Pro.

This four-stage demo took under 30 minutes. Photoshop was used only for the channel swap and the comparison graphic; all tonal work happened in Lightroom. IR processing is like seasoning—small, repeated adjustments until it tastes right.

The example panorama was shot handheld during a teaching session. Good overlap and even light let Lightroom stitch it easily—imperfect yet effective for demonstrating IR panos.

Lightroom IR Processing Video & More

• Edit Infrared Photography in Lightroom Classic — Rob Shea
• Infrared Photography — Wanderlust Imagery (Timothy Moon)

Both are excellent starting points; Timothy Moon is a gifted artist, instructor, and storyteller.

Closing Thoughts

Infrared—color or monochrome—can expand your vision in surprising ways. A dedicated IR body keeps experimentation easy without disrupting my usual workflow. My X-E2 (590nm) is a companion for discovering the unseen, and most days my intent is simple: create luminous, sometimes mysterious, but always honest black-and-white photographs. And every so often, I give IR color a shout-out too.

Thanks for reading, and be well.