Black and White Photography

11 Alternative Approaches



Although the preceding chapters cover the most common black-and-white
techniques, processes, and materials, there are still numerous, less widely used
approaches. Most are for those times when the photographer wants to achieve
an uncommon look by trying something different. This chapter describes several
of these alternative approaches.
Infrared film was originally developed for industrial and scientific applications,
but it is now used mostly by creative photographers who like its unusual visual
qualities, variously described as surreal, dreamlike, ethereal, and otherworldly.
Although sensitive to visible light much as traditional films are, this film also is
exposed by infrared—radiation that is not visible to the human eye. The resulting
images show the subject fairly realistically, but with distinct differences. For
instance, vegetation and organic materials have a lot of infrared, so are rendered
with more density on infrared negatives, making these areas light on
subsequent prints. The effect can vary widely depending on the subject’s infrared
content, the type of infrared film you use, and the filter you have on the lens
when taking the picture.
The infrared results are strongest when you use a filter. An opaque gray #87
filter is especially effective because it blocks most of the visible light. However,
if you are using this filter on an SLR camera, you have to remove it so you can
see well enough to compose and focus the subject, and then replace it to take
the picture.
Many photographers use a #25 red filter instead. Although this filter is dark,
it is not opaque and usually does not have to be removed to compose and focus
your image. Other filters that work less dramatically with infrared film include
the #58 green and #12 yellow.
Perhaps the most difficult thing about using infrared film is establishing the
correct exposure. Light meters read visible light, not infrared, so the reading
they provide is an estimate at best. Furthermore, different brands of infrared
films have different sensitivities to light and infrared, and your choice of filter
also will affect exposure. With Kodak infrared film, for example, you can try setting your meter at ISO 100 and exposing the film as you would any other.
Or just use these exposure settings with a #25 filter on your lens:
Hazy sun f/11 at 1/125
Normal direct sun f/11 at 1/250
Very bright sun f/11 at 1/500
Check the instruction sheet that comes with the film for more specific exposure

recommendations, but, if possible, bracket to guarantee at least one wellexposed
negative; for example, make an initial exposure at f/11 at 1/125, then
make bracketed exposures at f/8 at 1/125 and f/16 at 1/125 (or the equivalent).
Focusing with infrared film presents still another challenge. Since infrared is
invisible, the lens doesn’t focus the same way it does when focusing subjects for
traditional photographs. One solution is to turn the lens slightly after focusing,
so it is set to focus a little closer than it otherwise would. Or you can use a small
lens aperture (f/5.6 or smaller) or a wide-angle lens to increase the image’s depth
of field to compensate for focusing discrepancies.
Infrared film is processed and printed in much the same way as any other
film. Check the instructions packaged with your developer for film developing
times. However, you will have to handle infrared film with extra care. The film
is heat- and light sensitive, so you should store it in a refrigerator before and
after it is used. Take it out of the refrigerator about two hours before use, and
return it to its original container after use and refrigerate it. To prevent condensation
from forming and possibly ruining the film, always leave refrigerated
film in its original packaging until it reaches room temperature before using it.
Infrared can penetrate the felt strips of the film cassette that houses 35mm
film (or the paper backing of medium-format roll film), so load and unload the
camera in darkness. Infrared film also is especially vulnerable to physical damage,
such as scratching, so handle both processed and unprocessed film by its
edges and with great care.
High-contrast prints are those with black shadow areas and white highlights,
with few or no gray tones. High contrast is used for visual effect, rather than to
accurately describe or document a subject. The results are generally stark and
graphic—and often dramatic. The primary factors influencing print contrast
are the subject’s inherent contrast and subject lighting, as well as how you process
your film and print your negative.
Subject contrast. Some subjects have inherently more contrast than others, such
as a black dog against a white wall or a white dog on a dark couch. The first
and simplest tactic to achieve high contrast is to photograph this type of subject.