Yes. Ilford SFX 200 can be shot without a red filter and exposed as ISO 200 black-and-white film. The filter is optional: it changes how colours translate into tones and produces the stronger infrared-style look associated with SFX 200.
What changes when you leave the red filter off?
SFX 200 has extended red sensitivity, but Ilford describes it as fully panchromatic, suitable for pictorial contrast with or without a filter. Without a red filter, you can use it for ordinary black-and-white photography; you should not expect the pronounced dark-sky and pale-vegetation effect associated with deep-red filtration.
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Ilford describes that filtered effect as blue skies rendered almost black and green vegetation almost white. It is a manufacturer description, not a guaranteed result: the scene, light and filter transmission all affect the final tones.
When is a filter useful?
Choose a filter for the rendering you want, not because the film requires one. Ilford says yellow, orange and red filters are compatible, and the effect depends on their transmission characteristics: stronger red filtration generally makes the effect more dramatic.
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- No filter: Shoot at ISO 200 without filter compensation. This is the simplest option for general monochrome work.
- Yellow or orange filter: Use these for a filtered tonal change that is less pronounced than the deep-red effect.
- Red or deep-red filter: Choose this when you want a stronger infrared-style rendering. Exposure compensation and focusing become more important.
How much exposure compensation do filters need?
Ilford’s November 2018 technical information gives these filter factors and exposure increases. They are manufacturer figures; a camera’s meter may not compensate accurately, particularly with deep-red or orange filters.
| Filter | Wratten equivalent | Filter factor | Exposure increase |
|---|---|---|---|
| Very light yellow | #3 | 2 | 1 stop |
| Yellow | #8 | 2 | 1⅓ stops |
| Deep yellow | #12 | 2.3 | 1⅓ stops |
| Very deep yellow | #15 | 2.4 | 1⅓ stops |
| Orange | #21 | 2.4 | 1⅓ stops |
| Reddish orange | #23A | 2.5 | 1⅓ stops |
| Red | #25 | 2.8 | 1½ stops |
| Deep red | #29 | 3 | 1⅔ stops |
| Very deep red | #89B | 16 | 4 stops |
Ilford warns that some common TTL metering systems can underexpose by up to 1½ stops with deep-red or orange filters. Its guidance is to bracket ±2 stops around the TTL reading with the filter in place, or around the meter reading after applying the filter factor. A filter factor is specific to a filter; do not assume every red filter needs the same adjustment.
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- 2 rolls of film
- ISO 400
- 35 mm
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What should you know about focusing and handling?
A deep-red filter can make it difficult to focus while it is mounted. Some lenses also shift focus between white and red light. Ilford says stopping down can accommodate this with short to moderate focal lengths; some apochromatic lenses may need no correction. If you are unsure how your lens behaves, compose and focus before fitting the filter, then use a smaller aperture where practical.
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Ilford says SFX 200 can be loaded in subdued light. Unlike true infrared film, it does not need to be loaded in total darkness.
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- ISO200, 36EXP
- 35MM Color Negative Film
- C-41 Processing
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Is a red filter necessary for developing?
No. Ilford lists normal black-and-white developers as compatible and provides development guidance for SFX 200. The product page lists 35mm and 120 formats; check current availability with a retailer. The filter affects exposure and image rendering, not whether the film can be developed.
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