Ilford SFX 200 BW/IR. how-to

[ciaran_mcmenemy]

<p>I have some SFX 200, but I'm not familiar with IR photography. Anyone used it before or has knowledge to share? Thanks!<br>

If I can't find a red filter, would an ND filter work? Or a stack of orange filters?<br>

Say I have the camera focused on a subject 3 meters away. How is the focus adjusted for IR, what's the rule? Does the ISO (filter reduction included) also correspond to the IR sensitivity? (meaning that, for example, with a 'normal BW' speed setting of 1/125, the IR will expose properly../)</p>

[Mike Gammill]

This film is more of an extended red sensitive film than true infrared. You might get some IR effects with a filter in the 720

to 750 nm range if the exposure is long enough. I would Google for past threads to see sample work to get starting

recommendations.

[peterbcarter]

<p>It works well. Here is my first crack at it......</p>

<p><img src="https://c1.staticflickr.com/5/4134/4786555624_b3a44beae8_d.jpg" alt="" /></p>

<p><img src="https://c1.staticflickr.com/5/4121/4781659475_415949d934_d.jpg" alt="" /></p>

<p>I was given a great tip. Shoot one frame without the filter at normal ISO. This lets you gauge the development.</p>

<p>These were shot with the R72 filter with 5 stops compensation, developed with WD2D+ developer.</p>

<p>Don't let anyone tell you it doesn't work with that "it's not a real IR film" crap. It works fine.</p>

[john_shriver]

The focusing correction for the lens

depends on the lens design. If there's

no IR focusing index, you will need to

experiment to find the correct

adjustment. (Lots of test shots wide

open.). If it is a zoom lens, the

correction could depend on focal length

(pretty much futile.)

 

ND filter will be of no use. Orange filter

will give very weak IR effect. You need

at least a red filter. Be careful not to get

a filter so deep that the film can't see

through it. Some of the filters used for

Kodak High Speed Infrared are useless

on SFX. HIE was sensitive much

further into infrared.

[peterbcarter]

<p>On the focus issue, the above were taken with a lens marked for infrared. Infinity is not with the focus wide open.</p>

<p>I found using higher f-stop numbers gave me better focusing latitude and using a pyro gave me better over exposure protection; but any compensating developer will give that too. With the slower shutter speeds, bolt the thing to a sturdy tripod.</p>

<p>Remember, you are still shooting the SFX for iso 200 and you develop for iso 200. The 4-5 stop adjustment is just to compensate for the light loss of the filter. You are not pulling the film to iso 12 or 6. I was confused with this for a while.</p>

<p> </p>

[bethe_fisher]

<p>I've had ok results with a red #25, but better ones with a filter so dark I can't see through it (autofocus is your friend). It does not give the same results as HIE, but it's decent. Bright sun helps. And it does do nicely without filters as a regular B&W film.</p>

[ciaran_mcmenemy]

<p>I'm gonna be using an Ensign 420. Autofocus? haha. thanks for all the responses!!<br>

I have a nice red filter, but I can't find it, so I will have to leave the infrared for now. No point wasting it on ordinary B&W! <br>

Nice photos Peter! I like how ethereal it can be. What about a lake, what would that look like? Or if you took a picture of a car/something hot?<br>

I was wondering about the <12 ISO thing too. It adds up when you say 4-5 stops in speed are lost.<br>

Any idea as to the focusing? Would it be towards underfocus (excuse my term)with for example, 3 meters being set to 2.5, or overfocus? </p>

[peterbcarter]

<p>The amount the focus will change with lens. The infra red light bends differently than the visual spectrum of light. I only used one lens, and it was because it had IR marks on it.....an old Kiev 88 80mm lens. It focused about 5 minutes counter clockwise when looking from the back to the front. You will have to bracket and take notes on your camera.</p>

<p>Like any photo, you want a contrast between light and dark. The first photo I took on a bridge looking over a stream surrounded by vegetation. The light (about 1:30pm) was from above and you could see the warming of the leaves. The print is stunning. The second is shot across a meadow where there is lots of leafy brush in the same sunny conditions. Think hot+cold and you will get results you are looking for. Too much hot or too much cold doesn't really appeal.</p>

[aplumpton]

<p>With the old Kodak HIE film you had no choice about the result, at least in bright sunshine. Some liked the exaggerated effects of contrast and near white vegetation, but it could eassily be a bit too much (except for the otherwise unobtainable great halo effect possible with that film).</p>

<p>Near IR films like the former Sakura and Konica films and SFX are I think most valuable not with extreme (very dark red or opaque) filters but with dark orange or light or medium red filters (as with the Konica 750 nm) which give a milder effect I assume that a medium or dark red filter might give a similar more subtle IR effect than one with an R72 or more opaque filter. Once the pleasure of extreme tonality is discovered, it is nice to then explore milder and I think ultimately more intriguing B&W tonality and visual effect. Just my taste, perhaps.</p>

<p>Distance compensation was particularly important with the old Kodak film (with a higher mix of near IR sensitivity) but less so for the more recent IR films and SFX. The farther one goes into the near IR spectrum the less the lens is capable of focussing the IR rays without compensation. With the new films of lesser IR overlap the compensation is less important. If you have the choice, try using a 3 or 4 element prime lens instead of the more complex optics like most SLR and zoom lenses. The high performance yet simple Tessar 4 element lens works particularly well in bending near IR radiation.</p>

[glen_h]

<p>All lenses that I know of with a red mark can still focus to infinity at IR. That is, the mark is in the direction of closer visible focus.</p>

<p>All our favorite lenses are corrected for chromatic aberration though the visible spectrum, which can result in the near IR being significantly different, and fairly variable lens to lens.</p>

<p>You might also try out an IR filter on a DSLR. The internal IR block filter makes for long exposures, but it can be interesting.</p>

<p>Silicon is sensitive pretty far into the IR, so most block it to avoid unusual color effects. </p>