Yeah. Enough sorting through things in advance taught me that red filters were off the table from the start. I'll look for that book at my university library, but I'm not sure if they're liable to have it. I'm still baffled by the serious blue of indoor, fluorescent-lit scenes (and this was with that orange filter!). It was the last thing I expected, and I've not yet seen anyone else with anything like it.

Indeed. Digital people are now trying to emulate it by tinkering with alpha channels on their IR-hacked cameras, but it's nowhere close.

Because I only have a few rolls of EIR, it isn't likely I'm going to buy a set of Wratten filters (and the equipment to use them) unless they end up in a Freecycle pile. I'll just work with what I have in terms of screw-on filters. But I'll try the next roll at 200 or maybe 250, as I worry that going 400 will make it really grainy. I typically like grainy, but for EIR I'm finding the crispness somewhat intriguing given the unique colour palette.

Also, one more thing: I shot blue skies late in the day, and the hue is a light blue, even marginally cyan. It's pleasing, but it wasn't totally expected. I've seen other EIR shots where the sky is deep blue, verging on black. Is this the use of a polariser atop the colour filtering?

Thanks for the advice!


Quote Originally Posted by colrehogan View Post
There is a book by Stephen Begleiter titled, The Art of Color Infrared Photography. I found this book to be highly useful - along with copious notes on a single roll where I tried various filters. Note, the red filter did not look good at all. Yellow and orange gave cool effects.

This is one film effect that I have yet to see reproduced faithfully in digital. The color IR effects I have seen look nothing like what you can get with EIR. IMO.

Kodak recommends the Wratten 12 (and maybe even a CC50 filter). I think that I have either rated the film at 200 or on occasion 400. I do recall that Stephen Begleiter's book does recommend the CC50 filter for various applications, but I'd have to go back and look. I did buy one of these filters, but have yet to try it on this film. Guess that's something I'll have to try soon.

Okay, I just looked at the film spec sheet and it lists the ISO for E6 process as being 200. It lists ISO 100 for the AR-5 process. It is ti2323 on the Kodak site. I put a link to that page and you should be able to scroll down to the EIR listing.

It also lists several CC (color correcting) filters for use with tungsten lighting, namely a CC20C, and a CC50C. I have tried several other CC filters in daylight with decent looking results.

I have also found this film to give pleasing results with evergreens in snowy scenes.