Shooting Film
This section explains the supplies you need and how to shoot the film. Finding equipment is half the battle. If you find all the technicalities confusing, follow the "foolproof method" at the bottom of the page. For subject ideas, visit the about page.
1. Gathering supplies
Cameras
Your best bet is the granddaddy of all modern cameras -- the simple manual SLR camera. The older the better, as many recent cameras use infrared beams to determine how far to advance the film as you take pictures. Some modern cameras also have bumpy pressure plates and windows to see the film type. These features can destroy infrared film.
Old manual cameras are easy to find at yard sales and flea markets for $50 or so. I used a Pentax K-1000 to shoot film for this website.
Filters
If you don't use a filter when shooting infrared film, the film will look flat and monotone.
Each filter has a color and number associated with it. The redder and darker the filter, the more visible light it blocks. If you use a very dark filter, you can't see through the viewfinder and you have to use long exposure times. These are the best filters for infrared film:
- Orange filters
- A standard orange filter is No. 16.
- An orange filter will block some unwanted visible light.
- They don't create much contrast, but they preserve details in shadows and highlights.
- Orange filters let you see through viewfinders and use short exposure times.
- Summary: Orange filters are good for action shots, but won't create a dramatic infrared effect.
- Red filters
- The classic red filter is No. 25, but there are many others.
- A medium-range red filter will produce full-fledged infrared photos.
- You can still see through the viewfinder and shoot pictures without a tripod outdoors, but anything moving will be blurry.
- Summary: This is the most versatile infrared filter.
- Infrared filters
- These filters are dark red. They include No. 87, No. 88A AND No. 89B.
- Dark red filters produce a the most extreme infrared effect. They block out almost all visible light.
- Summary: They're best suited for still lifes, architectural photography or landscapes because they require a tripod and long exposure times.
Filters cost anywhere from $25 to $140. They come in specific sizes for different lenses, so make sure you try yours on or match your camera type with it before buying. Most filters simply screw on the top of the lens.
Film
Only a few photography companies are still selling infrared film because it's a niche market. In fact, the hardest part of the entire process might be finding the film! Try online specialty stores. Today, you can use one of three infrared films:
- Rollei (PDF data sheet):
- The name of the film is simply Rollei Infrared IR400. It sells for about $50 for 36 shots.
- It has a fine grain and high contrast.
- This is a true infrared film -- it is harder to use, but will produce the most dramatic effects.
- Efke and Maco (PDF data sheet):
- All of these films use the same emulsion, so they look very similar.
- The names are as follows: Maco IR 820c, Efke IR820. These also sell for about $50.
- These are also classic infrared films. See the note further down the page.
- Ilford (PDF data sheet):
- Ilford makes a "near-infrared" film named SFX 200.
- This film is versatile like normal film. It doesn't have to be refrigerated and isn't as sensitive to light. When used with a red filter, it exhibits some infrared qualities.
- SFX 200 is easier to find than true infrared films. It sells for about $8.
- This is the film I used for this project. It's a great film for beginners who want to experiment with infrared.
Important Note: You must keep infrared film in the refrigerator (55 degrees Fahrenheit or colder). Take it out and place it somewhere with room temperature an hour before use. All infrared films are extremely light sensitive, to be especially careful not to expose it to light.
2. Loading
Load and unload all infrared film in complete darkness or a rubber changing bag. You can't see infrared light, but it will fog your film. Ilford's SFX 200 doesn't require total darkness. If you have trouble loading film, you might want to try it with a throwaway roll beforehand.
3. Shooting
Your camera's settings are calibrated to measure visible light, not infrared light. Filters also affect the amount of light absorbed by the film. This is probably the most confusing part of infrared film -- it doesn't obey the laws of photography! Here are how camera settings are different from shooting normal film:
ISO/ASA
ISO or ASA is a measure of film's sensitivity to light. The film type and filters used determine the setting.
You can adjust the ISO by turning a knob on the top of your camera to the right speed.
Film fact sheets always tell you the ISO for the film. For the three films discussed in this website, here are the ISOs: without filters:
- Ilford SFX 200: 200 ASA
- Rollei Infrared 400: 400 ASA
- Maco and Efke 820: 100 ASA
Simple, right? Not quite. Filters also reduce ISO. The darker the filter, the smaller the ISO. CoCam's Infrared FAQ has a table of ISOs for popular infrared films with different filters. Here are some basic ones:
- Ilford SFX 200 with No. 25 red filter: 25 ASA
- Maco and Efke 820 with No. 25 red filter: 12 ASA
F-stop
F-stop is a measure of the diameter of the aperture or "pupil" of the lens. It changes how much light the camera allows in during a shot.
You can adjust f-stop by moving the ring around the camera's lens.
Normally, photographers determine the f-stop by using their camera's light meter. The problem: don't pick up all infrared light. Try these two rules when shooting infrared:
- Bracket your shots
- Adjust your camera to the right f-stop as you would if you were shooting normal film. Shoot one shot at this setting.
- Then click the f-stop up one value -- for example, from f/8 to f/11 -- and take another shot.
- Finally, adjust the value down one value from your original -- if you started at f/8, f/5.6 -- and take another shot.
- Do this to any extreme you feel comfortable. Most photographers bracket up and down three shots. Usually, at least one version of your shot will look interesting!
- Change ISO with f-stop
- If you're using an internal meter and reduce your f-stop by two stops, also reduce your ISO by two stops.
- If this isn't possible or you get confused, keep it at 25.
Shutter speed
Shutter speed is simply the amount of time the shutter of the camera is open. The longer it's open, more light will reach the film. This, along with f-stop, controls the exposure of the film.
To make it easier, keep the Sunny 16 Rule in mind:
- In sunshine with an aperture of f/16, use a shutter speed of 1/ASA.
- So if your ASA is 200, use a shutter speed of 1/200.
- If it's not possible to use an aperture of f/16, try a shutter speed that gets the light meter in the ballpark and bracket your shots.
Focus
Finally, the last setting infrared messes up! Because infrared film records more wavelengths of light, the point of focus shifts slightly in a photograph. This isn't that big a deal in landscape photos.
Luckily, most old manual cameras have an infrared mark on the lens. Usually, it's a small red diamond on the focus ring of the lens.
To focus in infrared, simply nudge the focus a bit closer to the mark.
If your camera doesn't have one, just adjust it to a slightly closer focus than what your eye tells you.
The foolproof method
All of these settings can get confusing for beginners. I explain an easy way to start shooting infrared photographs in the slideshow below.