Kodak EIR Infrared Landscapes by Aldo Rafael Altamirano
All images shot with Nikon F6, AF Nikkor 50mm f/1.4D with
a B+W #099 IR filter and Kodak Ektachrome EIR.
Aldo on the background of Aerochrome and EIR:
"Kodak Aerochrome and Kodak EIR are infrared-sensitive, false-color reversal films. They are both very similar and are sensitive to radiation up to 900 nm. Kodak EIR was the consumer version available in 35mm only, while Aerochrome was sold in big bulk rolls of 70mm. Both films are currently discontinued.
Although infrared film was created to improved haze penetration in aerial photography and other useful intelligence applications like camouflage detection for the military during WWI, the unusual and psychedelic aesthetics of infrared false-color film were perfect for artistic purposes and it was widely used during the 60’s.
There is no replacement for infrared-sensitive, false-color film. Similar images can be achieved with a lot of post-processing and IR converted digital cameras or using IR filters with regular digital cameras and long exposures, and while the results may be similar, they are not quite the same.”
Aldo on why he chooses to shoot film:
"To me, film just looks better. The way I see the world is the way it is captured on film— the subtle tones (or the vivid ones), the grain, the contrasts, the imperfections, the atmosphere and mood. There are many reasons why I love film but it’s one of those things you have to try to learn to love it and it can’t be described with words.
There is no “delete” button, no LCD screen to look at, no instant gratification, film makes you slow down in this crazy world where everything needs to be fast.
Like Vincent Laforet said ‘As the world continues to move faster and faster, as processors, resolutions, dynamic ranges, and terabytes keep increasing at an exponential rate, sometimes I think we could all do with a roll of 36 exposures.’”
" I looked at everyone and wondered where they came from, and who they missed, and what they were sorry for. "
Extremely Loud and Incredibly Close (Jonathan Safran Foer)