Ilford SFX 200 .
Ilford SFX 200 is a black and white film with a twist. It’s more sensitive to red light than most films. Add a deep red filter such as the Tiffen Red 29 and you get the classic infrared look. Bright foliage, dark skies and strong contrast. It’s a look that’s very difficult to replicate in post-processing.
It isn’t only for trees. Architectural photographers like it for the way it brings out texture. It’s also good for big views on hot, hazy days. Normal film struggles when distant hills fade into the haze. With the filter on, SFX cuts through it. You can get a clear shot of a view you can barely see.
The infrared look works best with sun and leafy trees. Compose before the filter goes on, because it’s hard to see through. Take a light reading without it, then adjust for your filter.
You’re not locked into the infrared look for the whole roll. With no filter it behaves like a regular black and white film. Contrast and grain are both moderate. For an ISO 200 film it’s at the grainier end. It has about the same grain as Delta 400, and less than HP5.
SFX 200 isn’t likely to be your default film. But it offers a look and flexibility few other films provide. It’s a good film to keep in the fridge for when you want to do something different.
- + Scenes where you want the infrared look
- + Architecture, to bring out texture
- + Big views on hot, hazy days
- − When you want finer grain — choose FP4 or Kentmere Pan 200
- − Dull days or low light — choose Delta 400 or 3200
- − Your first black and white film — choose HP5
more from their film.
Grain is moderate: more visible than in slower Ilford films, similar to Delta 400 and a little finer than HP5 Plus. In 120, less enlargement makes it far less obvious at the same print size. Rate it at 200. Latitude is wide, and unfiltered it works as a normal panchromatic film, with tones shifted slightly by its extra red sensitivity. With a filter, take a light reading before fitting it, as meters can underexpose behind deep red or orange filters. Then add exposure for the filter you're using; the deeper the red, the more it needs. Bracket two stops either side at first. Past one second it needs more reciprocity correction than other Ilford films: a metered 10 seconds becomes about 27.
It pushes well to 400 or 800. Pulling a stop is possible, though less well charted. Contrast is moderate at normal development; filtered negatives usually need printing harder to show the full effect.
Load in subdued light. Unlike true infrared film, it doesn't need a changing bag. Its 120 negatives can look and feel a little different from other Ilford 120, without affecting prints. Store cool, let it warm up fully after refrigeration, and develop promptly.