images you see here were produced using infrared black and white film.
This special film records the reflected infrared radiation that exists
in the world around us. Human eyesight does not perceive this reflected
radiation, so the photographs you see here show the world around us
in a unique manner. These images were captured using a variety of cameras
including two Canon 35mm, a Hasselblad medium format, and a Calumet
4x5 wood field camera. In the colder climate of the Colorado mountains,
I really appreciate the mechanical, non-battery driven nature of my
cameras. Nothing is more frustrating than to have framed the perfect
shot and be unable to capture it because the cold has killed your batteries.
The creation of these infrared photographs is a very complicated process.
To record this infrared radiation, I have to load, unload and process
my film in complete darkness in my darkroom. Currently, I use a variety
of films in my work. My infrared images are predominately captured using
Kodak HIE infrared film, which I have found to yield consistently more
interesting results than the Konica infrared or Ilford SFX films, although
occasionally I still experiment with them. I also shoot some Kodak Tri-X
black & white film in my medium and large format cameras.
Out in the field, opaque and deep red filters are used during the capture
of the images to allow the infrared radiation to reach the film with
very little radiation from the visible spectrum. Since you cannot look
through some of these filters, each shot must be composed, framed and
locked down using a tripod. As infrared radiation has a longer focal
length than visible light, each shot must also be refocused using the
infrared index on the lens before the shutter is tripped. Cameras and
light meters do not evaluate infrared radiation, so exposure times are
estimated based upon prior experience, time of day, elevation, and cloud
cover. Once all of these factors have been evaluated, finally the shutter
can be tripped and the image can be captured.
The next steps all take place in the darkroom. First the film must be
unloaded and processed in complete darkness. Once a negative is produced,
the next steps all occur during the making of the print. Infrared negatives
can be difficult to print, as some white areas of the print can become
totally “blown out” and not show any detail. These areas must be “burned
in”, given more light to show detail. The black skies can also be troublesome
as they can merge into a lighter grey as the photo is aimed closer to
the sun. These areas must be “dodged” or given less light to make them
appear darker and even out the density of the skies. I process all of
my black and white and infrared work in my own darkroom using Kodak
and Ilford chemicals. All of my images are printed on Ilford Multigrade
Fiber Base paper, which I process to archival standards to ensure long
Once an exposure formula for a print has been determined, which sometimes
can take up to ten or more exposure corrections, the final print can
be made. Each print is then archivally, hand processed, giving the print
a life span of over 100 years. Prints are then mounted, over-matted,
signed, numbered and stamped with the Raven Photography seal. These
prints are available in small editions only, always numbering fewer
than one hundred prints per negative.
If you have any further technical questions, please feel free to email