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(POSSIBLY) THE LAST ROLL OF COLOUR INFRARED FILM IN CANADA
B.C. PHOTOGRAPHER BOB ST. CYR EXPERIMENTS WITH A RARE ROLL OF FILM THAT WORKS ON A WHOLE OTHER SPECTRUM.
I’M ALWAYS excited about the experimental opportunities analog processes offer my fine art practice. Years ago, I purchased a roll of Kodak Ektachrome Infrared (EIR) 35mm, colour transparency/slide film. I don’t know why I waited so long to use it but, somehow last year, I felt the time was right. Working with infrared film is not like working with regular film because it is sensitive to a different part of the electromagnetic spectrum (700–900 nanometres [nm]). In other words, this film is sensitive to a different type of light than the human eye and requires special handling and special lens filters. Your camera cannot have infrared sensors or a small window in the film back. I use my Nikon FM2n.
You need filters. One of the differences between colour and black and white infrared film is that with colour I can use a yellow (Cokin 001) or an orange (Cokin 002) filter while composing and focusing normally through the lens, but black and white infrared film requires a very dark filter, such as the Cokin 007, requiring composition first in the viewfinder, and then affixing the filter to take the shot.
Kodak recommends loading and unloading the film in total darkness to avoid fogging the film. I loaded my EIR film in moderately low lighting and did notice a little fogging on some of the slide frames. Lesson learned: pay attention to manufacturer’s instructions.
Once the camera is loaded and you have filters, a sturdy tripod, and a cable release, you are ready to shoot. Arresting images will involve lush vegetation, especially deciduous plants, under bright sunlight. The chlorophyll in plants reflects light radiation. Infrared films (black and white and colour) record the reflected light radiation from the pigment cells of chlorophyll as highlights (whites) or tints and shades of red in colour.
My understanding is that EIR film was invented during the early 1940s to assist the U.S. forces with air photo interpretation. It has since found other uses in forestry surveying to ascertain tree health, and to record documents and paintings when looking for overpainting or alterations. However, my interest in this film was purely to explore the artistic effects of false colours on familiar scenery.
Unfortunately, I do not have the exposure data, but as I think about it, I don’t know if having such information is really useful. The lighting conditions for the types of scenes others may photograph under may not be exactly the same, so my exposure data may not translate into someone else’s photography. Follow the recommendations that come with the film. Look for information from reputable sources and use a good light meter. The in-camera meter in my Nikon proved to be adequate. Kodak recommends 1/60 @ f/16 for black and white, with a deep red filter under direct sunlight and 1/125 @ f/16 for colour IR film with a deep yellow filter under direct sunlight.
Once your precious film has been exposed, wind it completely back into the film casing and seal it in the film canister it came in. Have it processed promptly. The film MUST NOT be processed like regular colour slide film. You must ensure that your lab offers the E6 process for slide film and that the lab can turn off the machine’s infrared sensors (otherwise your colour infrared slide film will be ruined). Since my local labs were not able to accommodate my needs, I sent the film to The Lab in Vancouver, which did a wonderful job. For black and white however, I simply process and print the film normally in a darkroom.
Because EIR film has been discontinued and is difficult to find, I felt it was important to find subject matter that would really work well with this precious roll. Who knows, perhaps it would be one of the only times I would be able to experience such a rare film and I did not want to waste the opportunity. I knew the place would be in the natural surroundings of lower Vancouver Island and during the summer when the days are sunniest. Thus, I chose to work in two different locations, one at Royal Roads in Colwood, British Columbia, and at the Finnerty Gardens in Victoria, British Columbia.
After my film is scanned, I digitally clean up dust spots, crop images, and tweak the contrast and levels. Other than that, I do not engage in much manipulation. The images you see here are not far off from the original transparencies and negatives.
Overall, using this film was a wonderful experience that I would like to continue exploring as the results are really exciting, however, with a dwindling film supply, repeating this adventure may not be possible. Converted digital cameras (expert camera hackers required) offer a possible alternative to film that also produces some very interesting results.
RESOURCES: Although you won’t be able to pop into your local photography shop to find colour infrared film, black and white is still an option (for now). Get on it before that’s gone too! Rollei makes an infrared black and white film and ILFORD makes a pseudo-IR film (SFX) that should be readily available. Retailers such as Beau Photo (Vancouver) and Henry’s (national) still carry limited stock.
