Infrared Photography – purists beware, here are some digital info´s

First you have to decide if you want to do colour or b/w.

If you want to get colour images , use a 630 up to 720 filter, the filters below this wavelenght (750…950) will give you nearly no colour information…

Different sensors or films give remarkable different results!

The Standard IR Filter (720nm) is the classic IR filter. It allows some visible light to pass for color processing and gives good contrast for black and white. E.A: the Hoya R72 and Wratten 89b.

The 550nm IR Filter lets in the lots of visible light creating blue skies and blood crimson reds. It has the look of old IR films. It’s also good for infrared portraits, it keeps rather neutral skin tones (the 590nm will expose veins) and still provides color information.

The 665nm filter is in between the 720nm and the 590nm, showing more vibrant colors than the 720nm. The 665 comes out more reliably between different cameras and lighting conditions.

The 850nm filter and 920nm are good for black and white IR and will show bright whites and pronounced darks. With a custom white balance in camera, the picture is close to pure B+W.  E.a. the Wratten 87c.

With film test your focus and your exposure time with bracketing, both can be rather difficult to find and change rapidly and sometimes unpredictable with light conditions (we cannot see infrared;-) ).

Try to have the sun in the back or at your side, pics toward the sun often have very low contrast and lots of flares.

Best are sunny days and the trees and grasses should be green to get the „wood“ effect.

The best light source is the sun, but moonlight works well, too.

Camera flashes emit infrared as well as visible light so they can be used for infrared flash photography. It is possible to cover the flash with an IR filter to get rid of the visible portion of the flash and have a dedicated IR flash.

If you go digital:

Use raw files!

Use a modded camera with no infrared filter (or give it a try with a tripod and take your (long) time)

Use „live view“ if possible, so you should be able to rely on the automatic metering and autofocus.

In your raw converter:

If you shoot b/w use the LAB modus and the L (red) channel.

For colour

Set your white balance on the (white) greens

Use the cannel mixer to switch the red and blue channel.

(This is the usual result:

Red Channel: Red=0, Green=0, Blue=100
Blue Channel: Red=100, Green=0, Blue=0
Green Channel: Red=0, Green=100, Blue=0

Sometimes this is giving a better result:

Red Channel: Red=0, Green=0, Blue=100
Blue Channel: Red=100, Green=100, Blue=-100
Green Channel: Red=0, Green=0, Blue=100

Add Hue/Saturation

Apply contrast / use curves / dynamic contrast…

Add structure/details/clarity or however your software names it

Play with blending modes (contrast etc, e.a. luminosity)

Small variations in my White Balance or Channel Mixer settings (the two most important settings for IR) as well as the sequencing of the processing steps have often led to very different results.

Your IR results will depend on several more factors:

  • Camera make/model and sensor
  • Infrared filter used (there may be even variations between vendors)
  • RAW or JPEG processing
  • Your Lens
  • Type of vegetation and its ability to reflect IR light

Still for me to try:

Vittorio Sergi : If you like the usual 720nm faux color conversion with a blue sky, just skip the channel swapping step altoghether, grab a hue and saturation Adj. layer and slam the hue slider one all the way left or right so that the value reads 180 or -180, there you have a nicely done blue hue as it should be, given that you nailed white balance

720nm Filter, May 2020:

Closed bridges

https://photographylife.com/infrared-photography-720nm-filter

https://www.lomography.com/magazine/320088-6-infrared-films-for-that-otherworldly-glow

ttps://photography.tutsplus.com/tutorials/an-in-depth-guide-to-infrared-photography-setup-and-capture–photo-9533

https://www.scottdavenportphoto.com/blog/how-to-process-an-infrared-photo-in-on1-photo-raw-2020

Developer: fine grain

Here nan interesting discussion about „fine grain“ devs:

Hi! here it is 🙂      

AGFA 12 FINE-GRAIN TANK DEVELOPER

This fine-grain formula keeps well and makes an excellent tank developer


Hot Water (125 F. or 52 C)
Agfa Metol 8 grams
Agfa Sodium Sulphite, anhydrous. .. 125 grams
Agfa Sodium Carbonate, monohydrated.  5.75 grams
Agfa Potassium Bromide 2.5 grams
Water to make  1 Liter.
Do not dilute for use. Develop 8 to 12 minutes at 65 F/(18 C.).

And a comment from (I think Rüdiger):

O.K. Fine grain is due to the high content of sodium sulfite (solving developer).


Potassium Bromide seems to be a little high. This may eat quite a lot of sensitivity 1 gramm up to one stop. Modern emulsions don’t need that much – if any.


I work with a much simpler bath that Barry Thornton made for new emulsions. It is a two-bath basically


Bath A:

6.5 g metol, 80 g sodium sulfite to 1 litre.

Bath B:

20 g of sodium metaborate to 1 litre


You „charge“ the emulsion in bath A with initial inversion 1 minute, then once per minute.

Then change to bath B without watering in between.

Initial inversion only once (in order not to wash out the developer) and also once per minute.


The good thing about is: Every  ISO 100 film need 4 minutes in each bath and every ISO 400 film 5 minutes.
The developer is good for 10 to 15 rolls.


Very good highlight balancing due to two-bath (developer gets exhausted in the highlights). Fine grain and sharp.You get at least box speed, if not 1/3 to 1/2 f-stop on top.

Lens – Schneider 4×5 M-Componon 80/4

I stumbled upon this „Lupenobjektiv“.

It has a reduced focal distance and is usually used with a macro tubus.

Schneider : Lens for high resolution, up to large format macrophotography; used with Copal 0 shutter and special macro tube for Linhof Technika. Also ideally for 35mm on bellows.

Focal Lenght: 80
Aperture: 4.0
ApertureRange: 1/2/4/8/16/32
Magnification: 1:1…7:1
Opt. Magnification:  
Mount: M29.5×0.5

Another user tells me it covers 8×10, I have still to try this.

Bild könnte enthalten: Kamera und im Freien
Keine Fotobeschreibung verfügbar.
Bild könnte enthalten: Innenbereich

Film – Perutz 17

The German firm of Otto Perutz was established in 1870. It was the first to produce a roll film for the Leitz camera.

In 1880 Otto Perutz started the Perutz-Photowerke in Munich, Germany.

They first made dry film plates there and later made many innovations in early film photography.

The Perutz 17 film was produced in 1956, eight years before Perutz was taken over by Agfa in 1964 and in the year of my birth.

I got the Perutz 17 „tropical“, 40 ASA, expired 1966.

The „Tali“ meant in daylight loadable film, these had no cassettes.

Sadly I got no usable negs out of it.

Film – Orwo NP22 (exp. 1998)

I scanned the flyers that came with the 120 film and found the original R09 dev receipt:

I exposed the fim in an old Agfa Isolette a bit longer, using the sunny sixteen + one stop.

In R09 development 1:40 I used 20 Min at 20 Celsius, every min 3 agitations.

To compensate for non constant agitation you should at 15%, I did 20 min dev to give the film one more stop due to the old age.

Results were fine.

Film – Delta 3200

Dev times

Real Sensibility is about 1250 ISO, be careful with Rodinal (grain)

EntwicklerMischverhältnisASA/ISO35mm120Temperatur
D-76StockISO 4007 min7 min20°C
D-76StockISO 8008 min8 min20°C
D-76StockISO 16009:30 min9:30 min20°C
D-76StockISO 320010:30 min10:30 min20°C
D-76StockISO 640013 min13 min20°C
ID-11StockISO 4007 min7 min20°C
ID-11StockISO 8008 min8 min20°C
ID-11StockISO 16009:30 min9:30 min20°C
ID-11StockISO 320010:30 min10:30 min20°C
ID-11StockISO 640013 min13 min20°C
ILFOTEC DD-X1+4ISO 4006 min6 min20°C
ILFOTEC DD-X1+4ISO 8007 min7 min20°C
ILFOTEC DD-X1+4ISO 16008 min8 min20°C
ILFOTEC DD-X1+4ISO 32009:30 min9:30 min20°C
ILFOTEC DD-X1+4ISO 640012:30 min12:30 min20°C
MicrophenStockISO 4006 min6 min20°C
MicrophenStockISO 8007 min7 min20°C
MicrophenStockISO 16008 min8 min20°C
MicrophenStockISO 32009 min9 min20°C
MicrophenStockISO 640012 min12 min20°C
Rodinal1+25ISO 4005:30 min5:30 min20°C
Rodinal1+25ISO 8007 min7 min20°C
Rodinal1+25ISO 16009 min9 min20°C
Rodinal1+25ISO 320011 min11 min20°C
XtolStockISO 4005 min5 min20°C
XtolStockISO 8006 min6 min20°C
XtolStockISO 16006:30 min6:30 min20°C
XtolStockISO 32007:30 min7:30 min20°C
XtolStockISO 640010 min10 min20°C

Agitation: First 60 seconds, than 4 inversions every minute

2019/10 when in spain…

While on a trip in spain I had my RSS 6×6 pinhole with me, along with Agfa ortho 25, expired 1992, later dev. in Rodinal 1:100 semistand 1 hour, 20 Celsius.

Avila – the fountain
Avila – parador
El escorial
Segovia – the cannon
Toledo – the bridge