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Hasselblad 501c + Distagon 50mm,
Hoya R72 Filter and Rollei IR Film |
Introduction
As every photographer would know, our senses strongly shape the way we perceive the world, but they only sample a small part of the reality around us.
Curiosity around the world beyond natural perception has motivated some of our greatest inventions and discoveries. Since the 17th century, telescopes and microscopes have extended the reach of human vision to ever larger and smaller scales. In the last two centuries, visual observation escaped not only the human scale, but also the visible spectrum.
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| Light Spectrum Chart |
The world seen in infrared is once familiar and strange. Even though we cannot see infrared, it is always there. One can achieve incredible and dramatic photographs using infrared film. But because shooting infrared can be intimidating, many photographers avoid it. However, having a proper understanding of infrared film and how to handle it eases its use dramatically. In this post, I'll examine the differences in various infrared films, what kinds of results you can get with a variety of filters, and how to handle the film after shooting.
Panchromatic vs. Infrared
Normal panchromatic films are designed to render images as close to our vision. While using coloured filters can allow the photographer to manipulate the tonal quality of the photograph, what gives IR film its main characteristic, and what makes it different from conventional film is its ability to record reflected infrared energy.
The largest natural source of infrared radiation is the sun. Because chlorophyll reflects high levels of infrared energy during photosynthesis, it causes leaves to record as white to light grey in infrared images. This 'effect' of infrared film is most obvious in foliage and often exploited by IR photographers.
Film Choices
There are several types of infrared film in the market and choosing the one with the appropriate IR sensitivity is important for achieving the look you desire.
Rollei Infrared 400
- True IR sensitivity - Up to 820Nm
- High sensitivity - ISO 400
- Fine grain high contrast
- Loading possible in subdued light
Illford SFX 200
- Near IR sensitivity - Up to 740Nm
- No extra precautions needed for loading film
- Full panchromatic sensitivity without filter
- Easily available
Kodak HIE
- Highest IR sensitivity - Up to 900Nm
- No anti-halation layer
- Discontinued
- Must be loaded in absolute darkness
Filters
The use of a filter is required to bring out the sensitivity of the film to red light. If you were to use an infrared sensitive film without any filter, you can expect a normal black and white photo. There are a variety of filters for IR film and depending on the film you use, some may work better for your film.
Coloured Filters
- #8 Yellow - begins transmitting light at 450Nm, blocking ultraviolet and most blue light.
- #15 Orange - begins transmitting at 500Nm, blocking all ultraviolet and blue light.
- #25 Red - begins transmitting at 600Nm, blocking ultraviolet, blue, green and yellow.
Opaque Filters
- #89B filter begins transmitting at 720Nm
- #88A filter at 750Nm
- #87 filter at 800Nm
- #87C filter at 850Nm
Some photographers prefer to use a deep red filter like the #25 used normally for normal black and white film as it still allows some visible light to pass through, allowing them to frame the shot in the viewfinder while the filter is on. However, I recommend the use of Opaque filters like the #89b as it only allows infrared light to pass, creating a more dramatic IR effect.
Metering
Due the amount of light being blocked by the filters, appropriate compensation must be applied order to get correct exposure. While there is no hard and fast rule for the amount of compensation required, you may refer to the following table as a starting point:
| Filter Type |
Compensation |
#8 Yellow
|
0.5 - 1 Stop
|
#15 Orange
|
1 - 2 Stop
|
# 25 Red
|
3 - 4 Stop
|
# 89B
|
4 - 6 Stop
|
In the initial stages of shooting infrared, it may be useful to burn some extra film by bracketing -1 and +1 stop to see how exposure affects the final image. You might need to compensate more when exposing a scene with bright direct sunlight and less with diffused light. With experience, you will be able to find out which exposure value works best for you.
Developing IR film
You may develop IR film just like any other regular black and white film. I generally develop my Rollei IR in HC-110 Dil B for 9 minutes.
Other Considerations
Because of their increased sensitivity, it is important to store your infrared films in a dry, cool and dark environment or there will be a risk of fogging. I keep mine in a dedicated film freezer, taking it out a day before I shoot the film for it to cool down to room temperature.
When choosing a camera to shoot IR film, take note of unexpected fogging and or leaks caused by film windows and camera imprints. To remedy this, tape a piece of aluminium foil to the film window and turn off any imprints. As such, it may be impossible to use cameras such as the older Rolleicords and Zeiss Ikontas due to their reliance on the windows for advance.
