Introduction

Long lost are the techniques of artists who did not document their findings. One would be very fortunate to recreate these exact findings and techniques; without the basic experimentation and application of that particular art form. Donald A. Aaby '98

The information that I have gained through trial by error experimentation and research; will, I hope, further the techniques of indoor infrared photography. I welcome these techniques to be used and improved upon; it could only lead to an advancement in indoor infrared photography. An art form yet to be fully explored.

Infrared Photography

In early photography experimentation's, I used black and white film to achieve photographic illusions; parts of the subject would disappear using black garments against black backdrops with lighting techniques to deepen shadows. Thus creating surreal imagery using only black and white film exposure with visibly viewed shadows from lighting sources. A good place for any amateur to start, it is less expensive than infrared film, and is a needed skill for future use in indoor infrared photography.

As infrared film exposes from the lower bands of near infrared (invisible light); it is indeed deceptive to use in an indoor setting. What you see when photographing, may not be in actuality what you get in the end photograph; an illusion of sorts, which your knowledge and use of shadows should help you with. For some areas of the subject that may appear to be well lighted, are in the actual photograph a shadow and other areas may indeed be over exposed.

Your lighting techniques and background colors may vary from what I have used, using what information I give; but you will be on your own, because you will add variables that have not been included in my original research and development, of indoor infrared photography.

The first problem you will encounter; is how color reacts with your lighting and the invisible light qualities of near infrared, for your exposure of infrared film. Note: The light source produces near infrared (invisible light) with larger amounts of the color red from the visible spectrum; this effects how colors appear and how light qualities reflect.

Different objects absorb and reflect light wavelengths in varying degrees, which gives us the color we see. Now, can you balance those reflected color wavelengths, so that the color spectrum is a reflected end result; so you don't change the light qualities that are needed in exposing the infrared film negative? Is this important?

I have found too much of one color changes the light wavelength qualities just enough to cause unpredicted results in my photographs.

Another contributing factor is also present, which I observed in experimentation's with mirrors and I base my conclusions of reflected wavelength results on these experiments.

Unusual phenomena occurs with reflections in a mirror. The image appearance can be normal black and white, infrared quality with surreal characteristics or it can distort the subject to look like a mannequin in the reflection. Add a second mirror showing a reflection from the first mirror and you can achieve three different image qualities within one picture; mirror one, mirror two and the original model all having different appearances on the final print.

Again; you will not see these qualities before the final print, so take some notes, but it may not help. And here is one reason why.

I have strictly worked with the nude human form in my experimentation's and development of indoor infrared photography. Turns out to be another variable in the equation of reflected light wavelengths and effects on invisible light.

Another observation occurred in research with the same exact lighting and model. A second photo shoot within a weeks time produced entirely different photographic results. It could be said it was different film; but it was from the same manufactured batch of film. I attribute it to the human body and light wavelengths the body absorbed and which wavelengths it reflected.

As invisible light wavelengths at this time, cannot be measured and because I am not a scientist, I can only give you my observations based on photographic results from my experimentation's.

My speculations based on the fact that the human body is constantly undergoing changes on a cellular level is this: Depending on how much of certain forms of energy from the electromagnetic spectrum a body absorbs, depends on how the cells readjust themselves and which energies are then absorbed and which are then reflected. As the body is constantly healing itself and evolving; it makes perfect sense that the body would adjust, so not to be overexposed to one particular form of energy from the electromagnetic spectrum.

The electromagnetic spectrum is the energy output of the sun that we have measured as particles and waves. The photographic spectrum is a small range within the electromagnetic spectrum; and within the photographic spectrum is light known as the visible spectrum, the colors we see from reflected wavelengths off objects. Which brings us to the characteristics of near infrared ( invisible light ).

Black Backgrounds

As the lighting used in my photography is very bright, giving off very little visible light, additional lighting was needed to allow for the photographic exposure; even with the additional lighting, difficulties occur causing under or over exposure. It is yet to become a rocket science and because of this fact, I have continued to use a black background as a consistent part of the formula in my photography. The film would be far too over exposed if it were not for this black background absorbing this extra light needed for the exposure and exposure without the additional lighting would be extremely difficult.

As the current lighting deals mainly in the primary red range of the visible light spectrum, a balance of the visible light spectrum was needed and excessive invisible light (infrared) was a primary concern with the indoor infrared photography, as I also had no means to measure it. The black background seems to absorb this extra invisible light quality of infrared and also allows for better control of visible light needed for the exposure.

Since the color white remains white and the color red turns white, as does plant foliage; it would become an extreme hindrance in producing photographic results at this time, without this black background being used. A model turning white against a white background just does not seem to work, at least hypothetically. Neither does a model turning white in front of a red background that turns white. To many plants in the shot, well you get the idea. So I have kept it simple and have stayed with the black background for that reason.

Because of this fact my studio is totally covered with black carpet, that is attached to the walls and stretched to remove wrinkles, it would be too counter productive to remove it just to take color photographs. Color infrared may evolve into an entirely different story; but for now I have remained specializing in Black and White infrared photography. So black background it is and this is why.

Lighting and Effects

The infrared lighting source I use creates some very unusual effects upon the exposed film. I feel it is due to the absence of visible light during a photo shoot. Sometimes the effects change during a roll of film without any adjustment to the f/stop, shutter speed or lighting. Adding a flash can also change the final appearance of the exposure, but having the same characteristics as a photograph without a flash, just more detail. Actually I have found some of the results to be quit dramatic even when the final print in my eyes is a flop.

A discoloration is usually the most noticeable of the effects. Skin tones take on an unusual colonization, usually within the red color tones, that creates a very unique image. Hard lines of two different tones of color appear, as if by magic, but are caused by the invisible light as it strikes the subject at certain angles and strength. There are other effects present that you may not directly connect to this phenomena.

Blurred images are one such effect; the slightest movement of a limb becomes a blur of movement. I attribute the main part of this occurrence do to the lack of visible light during the shoot. The remainder of these occurrences come from user error, me. I am fascinated with the motion in some of the photographs where the part of the body that is in motion, does not look as if it could be or should be. Just a few more of the occurrence of these effects brought on by the lighting combination I use.

I have found some of the effects brought about my combination of light sources to create artistic as well as a surreal effect to the photography.

"Proper" Camera Settings

I find it a very amazing thing that other photographers, even lab technicians, always seem to think they know more about my photography, than I do. It seems in each case, as pointed out by that fellow or gal I am dealing with, that they are more concerned with the mechanics of proper photography, than the actual artistic application. My f/stop or shutter speed is never right and these facts are quickly pointed out to me; never an educational recommendation or possible correction for the supposed problem. I am truly amazed with this kind of authoritative judgement of my photography. Not one of these cats has the slightest idea of the light source I use or the results that I am trying to achieve with infrared photography.

If you find my photographic results a little unusual compared to the normal standards you are accustomed to, know that I am very aware of this fact. I do not claim to be a formally educated photographer in the scientific approach of the "proper" usage of photographic equipment; where the subject and content have no importance other than it is there to be photographed with scientifically "proper" camera settings.

I deal in trial by error photography, since there are no standards set for the type of work I am doing or trying to achieve. The light source I use for indoor infrared photography cannot at this time be measured by me or my photographic equipment. So what f/stop would you use? Exactly the point, you play with it, and figure it out with trial by error. It would be so nice to read a book that states when you use this light source, with this light meter reading at this f/stop, shutter speed, etc.. But there is no such book, no such meter reading which means there is no f/stop, shutter speed combination to use standardly.

To add to the problem, a lab I was using actually had a technician that "supposedly" knew what the results I wanted should be and corrected the development time accordingly, without bothering to make note of this fact. So I was actually bracketing around the wrong f/stop during a majority of my early infrared work. I was getting the photographs back as I wanted and thought that my camera settings where close, so I continued to work around these settings. Lo and behold the settings were not correct, not even close.

I laid out a hefty sum of money for the staging, two models and some infrared film for the first photo shoot in my new studio. I based my lighting techniques, studio design, camers settings, etc. all on the original experimentations. However the original photography had not been processed according to the manufacturers specifications, of which I did not know. When I went to the new lab I was using, to get back the contact sheets, for what I thought would be the nice results I had longed for, I unfortunatly got back contact sheets with nothing.

The nickle and dime joint lab I had used guareenteed satisfaction with the results or you did not pay for the film development. Because of that they felt they were supposed to muck with my pictures. In my younger days I did not really know better, but have learned this too by trial by error. Use a professional lab and not some nickle and dime joint, or you to may find yourself in the position of being penny wise and dollar foolish.

And of course my grateful thanks to those who think they know more about what I am doing and trying to achieve, always recommending how wrong I am doing things. Just process the film standardly and use your f/stops on your own photography, leaving me to my own. I think I know more about the subject of indoor infrared photography that I have developed than you might ever know.

Which brings us to the characteristics of near infrared ( invisible light ).

DONALD A. AABY DEC '98