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by paulgerhardt 3692 days ago
Infrared film used to be available commercially with sensitivity up to 900nm. It was quite useful for aerial photography work – forestry, surveying, spying. Very little of it is still around. Kodak Ektachrome was what one could get for your high school dark room. Aerochrome for surveying work. It was discontinued in 2009. Ilford however still makes some. Be forwarned, finding someone to develop the stuff is a nightmare, the chemicals are toxic, and the shelf-life brief.

Scientific infrared films, such as special formulations of AeroChrome I, II, II, approached sensitivity up to 1200nm.

In surveillance work, objects which were painted to look like their natural environment using various organic or inorganic paints may show up quite differently in the infrared spectrum.

In forestry work, old growth tree populations could easily be distinguished from new growth tree populations and were one of the primary uses for Nasa's version of the U2 (ER-2) for identifying old-growth redwood populations in northern California. [1]

A lot of work was done in the 1970's and '80's by astronomers and physicists to 'hack' Eastman Kodak scientific film, or plates as they were called. (Once you move past "point and shoot" film, you get into the realm of plates, 4"x5" trays similar to old-timey 1880's cameras.) Things like Kodak I-Z. One technique was to hypersensitize the film by bathing it in Ammonium Hydroxide [2]. Lawrence Livermore had such an appetite for IR-sensitive film with their laser work that they set up their own production process for hypsersentizing Kodak scientific plates. Another was to supersensitize them with acetic solutions getting film sensitivity in the >1500nm range [3]. This seems to be the limit of our knowledge for traditional chemical film processes.

Modern DSLR's have sensitivity up to 1600nm. Nikon worked with NASA for some of their special DSLR's [4].

One of the cooler things I saw was a University of Florida paper in Nature that used IR-OLED's to upconvert IR to visible light through a lens adapter achieving sensitivity from 400nm to 2000nm [5].

Beyond 2000nm you get into the MWIR range and FLIR devices take over.

[1] https://books.google.com/books?id=HZUTCgAAQBAJ&pg=PT129&lpg=...

[2] http://www.osti.gov/scitech/servlets/purl/4442636/

[3] https://books.google.com/books?id=nlftCAAAQBAJ&pg=PA259&lpg=...

[4] http://eol.jsc.nasa.gov/Collections/NearIR/IR_Intro.htm

[5] http://www.nature.com/articles/srep05946

1 comments

Do you have do develop those films in the freezer? A normal dark room is not really dark at those wavelengths, even if you turn the red lamps off, right?
Former B&W technician: All film is developed in complete darkness; it it sensitive to all wavelengths. The B&W photo paper is not sensitive to red, which is what allows you to have a dim red light on while printing enlargements.

And yes, it takes time to learn to navigate the room and work in pitch blackness. Gave me a lot of respect for the blind. At school, we could develop one roll at a time, allowing for the use of small containers which would let you work within a dark bag for a small period of time. At the photo shop, they had a machine for processing film in batches of 10+, which required the entire room to be dark while loading it.

Modern film processors frequently don't even require the dark box (unless the film canister is in really bad shape) - just stick it in, close the door, push a button. Remarkably slick.

Home processing of some regular B&W infrared film was tricky because the small tanks would sometimes be giving off IR, and would fog the film.