All photographs were taken with color infrared film and no computer was used to enhance the images. This is chrome slide film and what is shown here are near accurate reproductions of the actual positives.

The artist has the very difficult task of manually cutting, preparing and rolling the film from large bulk stock. The work is done in complete darkness and construction must be accurate to the millimeter. This is some of the very last of this remarkable film material. It has been discontinued by the manufacturer.
Infrared light is invisible to the human eye, so experience is needed to control the outcome of the photography. Three years have been dedicated to experimentation and the film has proven to be the most versatile photographic material ever produced. It performs brilliantly in the UV light, normal light and infrared light spectrum.

The images presented here are a portion of the full body of work.

Dean Bennici – Color Infrared Film Photography

1999 Moved to Germany. Currently living and working in Munich.

1988 BS in Process and Materials Engineering, CSULB, Long Beach, California

1963 Born in Pasadena, California, USA

The last 5 years have been dedicated to experimentation with color infrared film. Manually cutting, preparing and rolling the film from large bulk stock is a difficult task. The procedure is done in complete darkness. The film is no longer made, so the current work is some of the very last to be produced with this technique.

None of the photographs are computer enhanced. This is chrome slide film and what is seen in the work are near accurate reproductions of the photographic slides. The film has proven to be the most versatile photographic material ever produced and performs brilliantly in the UV light, normal light and infrared light spectrum.

Bennici’s first work was done in 2008 with what ended up as a series called “Clash”. It’s a result of working with various filters and light sources. Extended testing established a good nominal film speed at ground level. Further characteristics of the film were realized as a result of numerous experiments. In 2009, a portrait catalogue of artists was recorded in infrared, resulting in a series entitled “Unfinished Artists”. In mid-summer, the first 130 cm by 165 cm Diasec® images were produced, both from “Unfinished Artists” and from the “Clash” series.

The first landscapes were done in late 2009. The series “Infrascape” is a collection of landscapes which demonstrates the dynamics of the film’s response to nature over the four seasons. In 2010, a further 18 Diasec® images were made. They showed for the first time in London’s Grange Hotel with a second exhibit running in parallel at the Nektar Praterinsel, Munich, Germany.

A photo series of Death Valley, California ws completed in March 2011. Emphasis was on controlling the films color palette by adding or removing materials and surfaces in the composition. A trip to Japan is planned for late summer 2011.

Infrared light is invisible to the human eye, existing just outside the “visible light” spectrum. It’s all around us and in every existing light source, yet we don’t see it. Infrared film captures this light using a system of dyes designed to react to infrared reflection. Black & white infrared film first emerged around 1910.

It wasn’t until the late 1950s that a color version became available mainly for use in military reconnaissance. Due to its striking “false color” properties, the film became widely popular in the late 1960s as a refreshing alternative in fashion and music photography. Some of the most familiar iconic images of the era were captured on color infrared film.

As we moved through the 1980s, the film was largely overlooked, eventually giving way to the digital revolution. Kodak, the creator and sole supplier, discontinued the film in 2010. In 2010, Dean Bennici acquired the very last of this remarkable material and has re-cut it for use in standard film cameras. The film is constructed and cut from large bulk stock in complete darkness. It’s a difficult task requiring accuracy down to the millimeter.

Using the film effectively requires a basic understanding of the false color properties of the film and experience in predicting infrared light response. The light nearly always reacts differently and even the slightest change in procedure can alter the entire color palette. Experimentation continues to reveal new and exciting results, establishing infrared film as the most versatile photographic material ever produced, performing brilliantly in ulraviolet, infrared and normal light.

2011 SWAB ART FAIR Barcelona 2011 May 26 - May 29 An Exhibition in Infrared Film Photography Presentation of two 130 x 165 cm Diasec® photographs Fira de Barcelona, Spain

2011 ART Monaco 2011 March 31- April 3 An Exhibition in Infrared Film Photography Presentation of a single 130 x 165 cm Diasec® photograph Grimaldi Forum, Monaco

2010 Solo Exhibit Aug 23 - Sept 09. Dean Bennici - Eine Ausstellung In Infrarot Film Fotografie Collection of nine Diasec® infrared photographs Nektar Beach Praterinsel 5, Munich, Germany

2010 Solo Exhibition Aug 06 - Sept 06. Dean Bennci - An Exhibition in Infrared Film Photography Collection of nine Diasec® infrared photographs Grange St Paul’s Hotel London, England