ARK Infrared
Andrei Nikiforov · Photo & Video
Independent analytics for this App Store listing. AppTracker is not affiliated with Andrei Nikiforov.
Chart standing · US
What changed · US
Listing changes AppTracker has observed for this app in this storefront — new versions, price moves, rating shifts, and store copy.
Two new films. NEG — the exposure itself: the scene as the sensor records it behind a deep red 720nm filter, before development. Drag the dial across the IR-cut — from the pastel negative of an ordinary phone to the dense red of a converted sensor. Press and hold the photo: the print comes up under your finger. Let go: it sinks back into the negative. Push it: EV now bends the development the way real film responds — harder and darker pushed up, thin and milky pulled down. And look close: the starved channels hiss, the way a sensor really does behind a filter that starves it. SAFELIGHT — the darkroom lamp. Whatever it reaches glows red; everything else sinks into blue dark. Calibrated against red LED panels on the blue hour. The lamp creates no warmth — it finds what is already warm. The EV cell grew a rail — drag it in tenths of a stop.
Ratings breakdown · US
The star breakdown behind this app's rating in this storefront.
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About
ARK Infrared turns ordinary photos into infrared photographs — the way they would look shot on IR film through a real filter. It is not a color preset. The engine reads every pixel for the physical evidence infrared responds to — chlorophyll, sky light, tungsten heat — and rebuilds the image the way film would record it. Foliage glows. Skies go black. Nothing is painted on. FOUR FILMS BW — black & white infrared, 590–850 nm. The look of Kodak HIE: glowing foliage, dark skies, halation bleeding around highlights. The dial sets the filter wavelength. AERO — Kodak Aerochrome false color. Vegetation turns red, everything else keeps its neutral tone. The dial moves through the Wratten filter series (#12 to #25), exactly the axis practitioners used on the real film. NIGHT — infrared at night. Tungsten lights blaze, foliage burns red against a black sky. The dial sets how deep into red the film goes. The engine adapts to each photo's white balance automatically. MOON — day for night. Shoot in daylight, get a moonlit night — the way the eye actually sees in the dark: reds sink first, color drains, the day sky goes deep. Not a blue wash. The dial sets how far into the night you go. FILM BACK FOR VIDEO Load a clip. The deck tunes on a poster frame, live; one key renders the whole clip in the same film — every frame through the full engine. INSTRUMENT, NOT APP One aluminum deck. A tuning ruler, an exposure dial, one red key. Live rendering while you drag. Tap the nameplate to read what infrared light actually is — with Herschel's 1800 experiment you can run with your finger. Exports in 10-bit HEIF at full resolution. No account. No network. Your photos never leave the device.
What's new · 1.4.0
Two new films. NEG — the exposure itself: the scene as the sensor records it behind a deep red 720nm filter, before development. Drag the dial across the IR-cut — from the pastel negative of an ordinary phone to the dense red of a converted sensor. Press and hold the photo: the print comes up under your finger. Let go: it sinks back into the negative. Push it: EV now bends the development the way real film responds — harder and darker pushed up, thin and milky pulled down. And look close: the starved channels hiss, the way a sensor really does behind a filter that starves it. SAFELIGHT — the darkroom lamp. Whatever it reaches glows red; everything else sinks into blue dark. Calibrated against red LED panels on the blue hour. The lamp creates no warmth — it finds what is already warm. The EV cell grew a rail — drag it in tenths of a stop.
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