Infrared Film Handling

Infrared film captures light beyond what we see—wavelengths that render foliage white, skies black, and skin ethereally smooth. It's technically demanding but produces images unlike anything else.

This guide covers infrared film handling: loading in darkness, filter selection, focus compensation, and metering challenges.

Your First Infrared Roll

Before diving into technical details, here's how to shoot your first successful infrared roll:

What You Need

• Infrared-sensitive film (Ilford SFX 200 or Rollei Retro 80S)
• A red or IR filter (R72 recommended)
• A changing bag or dark room for loading
• A mechanical or simple electronic camera

Step-by-Step Process

1. Load your film in a changing bag or dark room. Don't load in bright sunlight.

2. Attach your R72 filter. The viewfinder will be very dark—that's normal.

3. Set your camera to f/11 or f/16. This handles focus shift automatically.

4. For exposure in daylight, try ISO 6. If your camera doesn't go that low, use ISO 25 and add 2 stops.

5. Find subjects with foliage and sky. Trees against blue sky are ideal for your first attempts.

6. Bracket every shot. Take one at your estimated exposure, then one stop over, and one stop under.

7. Unload in subdued light when finished.

What to Look For in Your Results

• White or very light foliage: The classic IR effect
• Dark or black skies: Confirms the filter worked
• Slightly soft images: May indicate focus shift—try smaller apertures
• Fogging at edges: Load in darker conditions next time

Don't expect perfection on your first roll. Use it to calibrate your exposure estimates for your specific film and filter combination.

What is Infrared Film?

Understanding IR-Sensitive Films

Available infrared films vary in how far into the infrared spectrum they see. For most purposes, this doesn't matter—they all create the distinctive IR look with appropriate filtration.

The films you can buy today (Ilford SFX 200, Rollei Retro 80S, Rollei Infrared 400) are "extended red" films that see into the near-infrared range around 750nm. They're easier to handle than the discontinued "true infrared" films and still produce the classic white foliage and dark sky effects.

The Technical Details

For those interested in the science: visible light spans approximately 400-700nm (nanometers). Near-infrared, which IR film captures, extends from 700-1400nm. Extended-red films are sensitised to around 750nm, while the discontinued true infrared films (Kodak High-Speed Infrared, Konica 750) extended much deeper into the infrared spectrum.

The IR Aesthetic

Infrared photography creates distinctive effects:

White foliage: Chlorophyll strongly reflects infrared. Leaves and grass render bright white or very light grey.

Dark skies: Blue sky doesn't contain infrared. With a deep IR filter, skies go nearly black.

Smooth skin: Subsurface scattering in skin makes portraits ethereal, almost luminous.

Unusual tonal relationships: Materials that look similar in visible light may differ dramatically in IR.

Loading in Darkness

The Simple Rule

Load and unload your film in a changing bag or dark room. Don't load in bright sunlight or near windows. That's it for the practical approach.

Why Darkness Matters

Film cassettes have felt light traps designed to block visible light. Infrared radiation can pass through some felts and plastics, fogging the film inside the cassette.

Modern extended-red films (SFX 200, Retro 80S) are more forgiving than the old true infrared films. A changing bag works well, though total darkness is still ideal.

Handling Procedure

1. Load in subdued light or darkness: A changing bag is usually sufficient for modern extended-red films.

2. Don't let film sit in camera: Load the film and shoot it reasonably soon. Don't leave loaded cameras in hot cars or direct sun for extended periods.

3. Unload promptly: After the roll is finished, unload in subdued light and store in a light-tight container.

4. Avoid opening mid-roll: Don't open the camera back or remove the cassette before the roll is finished.

Cameras for Infrared

Avoid These Features

Electronic frame counters: Some cameras use IR LEDs to detect film sprockets. These can fog IR-sensitive film. Mechanical frame counters are safe.

Automatic DX readers: Some cameras use IR to read DX codes. Usually not a problem, but worth noting.

Pressure plates with windows: Rare, but some cameras have windows in the pressure plate that could transmit light.

Safe Choices

Fully mechanical cameras: Nikon FM2, Canon AE-1, Pentax K1000—no electronics that could fog film.

Medium format mechanical: Hasselblad 500 series, Mamiya RB67—all mechanical, all safe.

Manual cameras with meter only: Cameras where electronics only power the meter (not the frame counter or DX) are generally safe.

When in doubt, test: shoot a roll with multiple blank frames at the start and end. If those frames are fogged, your camera may have an IR issue.

IR Filters

Why Filters?

IR-sensitive films also record visible light. Without a filter, you get mostly a normal photograph with subtle IR contribution. Filters block visible light, forcing the film to record only infrared.

Filter Options

R72 (Hoya, B+W, others): The most popular choice. Produces the classic white foliage, dark sky effect while remaining practical to use. The viewfinder is dark but not completely black.

87 series: Nearly opaque to visible light. You must compose before attaching the filter, then shoot blind. Stronger IR effect but more difficult to use.

Practical Recommendation

Start with an R72 or equivalent. It produces the classic look and you can still (barely) see through it for composition. Progress to deeper filters once you're comfortable with the technique.

The Focus Shift Problem

The Simple Approach: Small Apertures

Infrared light focuses slightly behind visible light. At f/11 or smaller, depth of field covers this difference. For your first rolls, just shoot at f/11-f/16 and don't worry about focus compensation.

This is genuinely all you need for sharp infrared photos. Many experienced IR photographers stick with this approach because it's reliable and simple.

The Precise Approach: Focus Compensation

For those wanting maximum sharpness at wider apertures, you can compensate for focus shift directly.

IR focus mark: If your lens has a red IR mark on the focus scale, focus normally, then shift the focus ring so your focused distance aligns with the IR mark instead of the normal index.

Manual offset: Through testing, determine your lens's typical shift and apply it consistently.

Zone focusing: At f/8-f/16 with wide-angle lenses, zone focusing at hyperfocal distance covers the shift with depth of field.

How Much Shift?

The shift depends on the lens and focal length. Wide-angle lenses shift less than telephotos. If your lens lacks an IR mark and you want to determine the exact shift, photograph a ruler at various apertures and examine the results.

Metering for Infrared

Starting Point Exposures

With a red filter (R72 or similar) in daylight:

• Bright sun: Try ISO 6-12 (if your film is rated ISO 400 or less)
• Overcast: Try ISO 3-6
• Bracket at least plus or minus 2 stops until you learn your film

For Ilford SFX 200 with an R72 filter in sunny daylight, try 1/125 at f/11. Bracket from there.

Technical Metering Approach

For those who want to understand the metering challenge in depth:

The problem: Light meters measure visible light. They don't know how much infrared is present. Subjects that look similar in visible light may differ dramatically in IR content.

Filter factor: Deep IR filters block most visible light. The R72 filter has a factor of approximately 6 stops in visible light, but IR film also receives infrared that the meter ignores.

Practical method:

1. Meter without the filter
2. Add +3 to +5 stops to the metered exposure
3. Bracket (+3, +4, +5) until you learn your film/filter combination

Subject-Dependent Exposure

Infrared content varies by subject:

Foliage in sun: High IR content, may need less exposure than expected Blue sky: Low IR content Some fabrics: Transparent to IR (dark clothing may render light)

Experience teaches which subjects need adjustment. Keep notes.

Developing IR Film

B&W Processing

Extended-red films (SFX 200, Retro 80S) develop normally in standard B&W developers. No special chemicals or handling required once the film is in the tank.

Recommended developers:

• Rodinal at 1:25 or 1:50
• HC-110 dilution B
• Ilford ID-11 or Kodak D-76

Develop in total darkness as you would any B&W film. Some photographers use extended development to increase contrast and emphasise the IR effect.

Labs

Many labs process infrared-sensitive films without issue. Specify that it's IR-sensitive film so they know to load/unload in darkness. Mail-order labs experienced with film generally handle this correctly.

Scanning IR Negatives

Extended-red films scan normally. The negatives have standard density ranges; only the tonal relationships differ from conventional B&W.

Some scanners use IR channels for dust and scratch removal (Digital ICE, iSRD). These technologies may behave unexpectedly with IR-sensitive film—disable IR-based dust removal if you see artifacts.

Common Mistakes

Fog at Frame Edges

Film was exposed during loading or unloading. Load in darker conditions or use a true darkroom rather than changing bag.

Soft Focus Throughout

Forgot to compensate for IR focus shift. Stop down to f/11+ or use the IR focus mark.

Normal-Looking Images

Forgot the IR filter, or filter wasn't dark enough to block visible light. The film recorded mostly visible light.

Underexposure

Not enough exposure compensation for the filter. Bracket more aggressively.

Uneven Results

IR content varies dramatically by subject. What worked for foliage doesn't work for architecture. Learn to estimate IR content.

Subject Ideas

Landscapes with foliage: The classic IR subject. Trees, grass, and plants glow white against dark skies.

Portraits: Skin becomes luminous and smooth. Eyes appear very dark. High-fashion and ethereal portraits work well.

Architecture: Stone and brick may reflect IR differently than expected. Contrast between vegetation and structures is dramatic.

Water: Water absorbs IR heavily, rendering very dark. Lakes and rivers become inky black mirrors.

Clothing: Some black dyes are IR-transparent. Be aware that dark clothing may render light or see-through in IR.

Summary

• Available IR films (SFX 200, Retro 80S) are extended-red rather than true IR
• Load and unload in darkness or subdued light
• Avoid cameras with IR-based electronics (frame counters, DX readers)
• Use an R72 or deeper filter to block visible light
• Compensate for focus shift (stop down or use IR focus mark)
• Meter without filter, then add +3 to +5 stops and bracket
• Process normally in standard B&W developers
• Classic IR effect: white foliage, dark skies, ethereal skin

Infrared photography is technically demanding but rewards persistence with images that look like nothing else. The otherworldly quality—familiar scenes rendered alien—is why photographers return to it despite the complications.