Full-spectrum Photography - History

History

Full-spectrum photography has its roots in spectral imaging, both multispectral and hyperspectral imaging, which began as early as the late 1950s and early 1960s as means for geological and military remote sensing. Wideband panchromatic film has been available in various forms since the 1920s, when some UV and IR sensitivity remained in commercially available emulsions. The earliest color films sometimes included wider band color than recent commercial photographic emulsions, and can be recognized by the more reddish and or limited color tones of early color prints (not to be confused with print fading).

In the late 1990s enthusiastic photographers began shooting infrared with digital cameras, necessitating either long exposures or the removal of the internal hot mirror. Most replaced the hot mirror with an infrared pass filter of the same optical thickness (to retain focus) and pass only infrared light to achieve results seen with infrared B&W film. Around 2000, electro-optical engineer David Twede, already engaged in VNIR and infrared spectral remote sensing, ventured into Full-spectrum photography art, using a modified digital camera to explore broader spectral imaging and developing art around it. Around 2003, forensics photographers using engineered cameras for specific purposes began modifying off-the-shelf digital cameras to acquire less expensive tools. Full-spectrum photography is used by enthusiasts of ghost hunting, though no claims of actually photographing psychic phenomenon with Full-spectrum or infrared photography have been substantiated.

Today, there are a few places that will modify digital cameras to pass broad, full-spectrum light for full spectral imaging. A few DSLR cameras such as the Fujifilm FinePix IS Pro are purpose-designed for full spectrum use and respond from approximately 1000 nm (IR) to 380 nm (UV).