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Ultraviolet light is directed onto the specimen by Woods Lamp so the
fluorescence is visible or using an ultraviolet transmission filter
over a flashgun termed the excitor. The barrier filter is an
ultraviolet cut-off filter for example 2E.
The ultraviolet light, blacklight, causes the substance to emit
ultraviolet light. At the same time some of the ultraviolet light
rather than being absorbed (to cause fluorescence) is reflected so the
barrier filter is used to prevent this reflected ultraviolet light from
reaching the film so only the light emitted is recorded.
Compare the two pictures below with and without a barrier filter.
The one on the right without the barier filter is more blue overall and
the poppy seeds seem to be purple from the reflected ultraviolet.

Seeded bread - Left without barrier filter, Right with barrier fitler 2B.
Effect of using different UV cut-off filters
By
changing the ultraviolet cut-off filter to one which cuts off more
ultraviolet light it is possible to enhance the quality and definition
of the colour image produced. It is important to make sure your filters
do not fluoresce under UV as this reduces image quality. Kodak colour
compensating filters can occasionally improve the purity of colours
CC20Y + light balancing 81EF (Wratten 81EF is brownish used to lower
colour temperature).
1A Skylight - Not recommended
2B Useful for cutting off excessive UV from flash and sky easy to obtain for UV fluorescence work.
2E Usual barrier filter for fluorescence work.
3, 6,9 or 12 Increasing cut-off deeper yellow can however cut-off some blue fluorescence.
Exposure
times are in the order of seconds 1 - 10 seconds, f/5.6 - f/8, but may
be longer with faint fluorescence so would need to allow for the
reciprocity characteristics of the film.
Stalagmite - Left control image under normal light, Right image showing ultraviolet fluorescence
Routinely I have used Velvia 50 ASA slide film for greater colour
saturation but to begin with it is sensible to use a 400 ASA colour
negative film which has a greater exposure latitude. Daylight film is the preferred choice but tungsten balanced film can
also be used but it is more sensitive to blue light so gives a profound
blue cast in the presence of any stray UV.
A digital camera can also be used but should be set on daylight
rather than auto white balance. If doing comparative work it is
important to take a control photograph under normal light the images to
the left show normal and fluorescent photographs of a stalagmite.
What fluoresces?
| Subject |
Colour |
Colourless solution of eosin and acriflavine
Mustard made into a solution and then dried
Hen’s egg - brown fresh
Quinine detected weak solutions
Sodium salicylate
Tinea - ringworm
Squamous cell carcinoma
Secretions of the skin, fingers and nails
Urine
Teeth
Decay, plaque or false teeth
Seborrheic eczema
Psoriasis (on underside of scales)
Paraffin wax + paraffin oil
Fluorspar
Alcoholic solution of chlorophyll
Crystalline lens of eye under suitable conditions |
Brilliant green
Green
Brilliant scarlet
Electric blue
Like a star
Bright metallic green
Glows like hot coals
Delicate blue
Pale blue
Bright white
No fluorescence
Dull brownish-yellow
Silver white light, (pink)
Blue
Blue
Red
Bright blue |

Forensic uses include drugs e.g. Lysergic Acid (LSD) which can be
detected by absorption and excretion of quite small quantities. Mineral
oils fluoresce differently from vegetable oils e.g. compare mineral
oil, linseed oil, paraffin, vaseline etc. using oil spots on paper.
Precious stones and pearls fluoresce differently depending on their
origins. Wool can be distinguished from cotton and silk.
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