Ilford SFX 200 120 Roll Black & White Film
Ilford SFX 200 is a medium speed black and white roll film for medium format cameras. SFX 200 has extended red sensitivity which makes it the perfect choice for infra-red style images. When used with a deep red filter, SFX 200 renders blue skies almost black and green vegetation almost white to create a stunning infra-red look to your shots. Unlike traditional infra-red materials, SFX 200 can be loaded in subdued light and is compatible with all normal black and white developers producing high quality negatives of moderate contrast. SFX 200 can also be used with other coloured filters such as yellow, orange or light red to product equally dramatic special effects. Price does not include processing.
Ilford SFX 200 is a medium speed black and white roll film for medium format cameras. SFX 200 has extended red sensitivity which makes it the perfect choice for infra-red style images. When used with a deep red filter, SFX 200 renders blue skies almost black and green vegetation almost white to create a stunning infra-red look to your shots. Unlike traditional infra-red materials, SFX 200 can be loaded in subdued light and is compatible with all normal black and white developers producing high quality negatives of moderate contrast. SFX 200 can also be used with other coloured filters such as yellow, orange or light red to product equally dramatic special effects. Price does not include processing.
Ilford SFX 200 is a medium speed black and white roll film for medium format cameras. SFX 200 has extended red sensitivity which makes it the perfect choice for infra-red style images. When used with a deep red filter, SFX 200 renders blue skies almost black and green vegetation almost white to create a stunning infra-red look to your shots. Unlike traditional infra-red materials, SFX 200 can be loaded in subdued light and is compatible with all normal black and white developers producing high quality negatives of moderate contrast. SFX 200 can also be used with other coloured filters such as yellow, orange or light red to product equally dramatic special effects. Price does not include processing.
Ilford SFX 200 is a medium speed black and white roll film for medium format cameras. SFX 200 has extended red sensitivity which makes it the perfect choice for infra-red style images. When used with a deep red filter, SFX 200 renders blue skies almost black and green vegetation almost white to create a stunning infra-red look to your shots. Unlike traditional infra-red materials, SFX 200 can be loaded in subdued light and is compatible with all normal black and white developers producing high quality negatives of moderate contrast. SFX 200 can also be used with other coloured filters such as yellow, orange or light red to product equally dramatic special effects. Price does not include processing.
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The lowest price for Ilford SFX 200 120 Roll Black & White Film right now is $9.40 at pandacamera.com, compared across 22 retailers.
The all-time low was $9.40 on 5 June 2026. That's the lowest price we've ever tracked — a great time to buy.
Prices last updated 6 June 2026.
Last updated at 06/06/2026 21:23:13
[EXPIRED 07/2024] ILFORD SFX 200 - 120 Black & White Negative Film
Delivery $12.43
Ilford SFX 200 120 Film (Expiry 06/2026)
Ilford SFX 200 120 (medium format) black and white film
Delivery $65.70
Ilford SFX 200 120 black/white film
Ilford SFX 200 120
Delivery $31.30
Ilford SFX 200 Black and White Negative Film (120 Roll Film)
Delivery $35.45
Ilford SFX 200 35mm 36exp
Delivery $10.95
Ilford SFX 200 - 120 - Single Roll
Delivery $9.95
Ilford Sfx 200 120 Film
Sfx Infrared 200 120 Film
Delivery $10
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originally posted on analoguewonderland.co.uk
Photo by reviewer: False Spirea Starburst, Cheshire, 2024.I loaded this film and went out looking for subtle infrared effects in plants and leaves. The photographs I took were in shade rather than direct sunlight. I used a 3-stop red filter on the camera lens and therefore a tripod was needed. I have found that photographs made with this film without a red filter look very similar to normal black and white film images, so a red filter is essential if you are looking for effects.This film should be handled and loaded into the camera in subdued light, although total darkness is not required. If you are developing the film at home, total darkness is required when loading the film onto the reel and into the developing tank, just as with regular black and white ... MorePhoto by reviewer: False Spirea Starburst, Cheshire, 2024.I loaded this film and went out looking for subtle infrared effects in plants and leaves. The photographs I took were in shade rather than direct sunlight. I used a 3-stop red filter on the camera lens and therefore a tripod was needed. I have found that photographs made with this film without a red filter look very similar to normal black and white film images, so a red filter is essential if you are looking for effects.This film should be handled and loaded into the camera in subdued light, although total darkness is not required. If you are developing the film at home, total darkness is required when loading the film onto the reel and into the developing tank, just as with regular black and white film.This photograph of a False Spirea plant (above) was my favourite. I was delighted with the gentle glow of the leaves in the image.Some previous testing with another roll of SFX film showed that, with my equipment, I needed to add an extra stop of exposure in addition to that determined by the through-the-lens metering (with the filter on the lens). However, I would advise bracketing in any case, because results can be a little unpredictable.The film was developed in Ilfotec DD-X for the manufacturer's recommended time. I printed the image on Ilford Multigrade RC Deluxe (pearl) at Grade 3. I applied some dodging to the centre leaves and a little burning to the leaves at the bottom of the image.The image uploaded here is a photograph of my print.
originally posted on analoguewonderland.co.uk
Ilford state that this film, while not being infrared gives similar results. Without having access to an infrared film we are never going to know for sure. It does, without doubt give dramatic results when paired with a dark red filter - I used an R29 from Tiffen. I had very satisfying results with the film in a Pentax MX and 24mm f2.8 A series lens. Ilford recommend bracketing shots by 2 stops. I found that 2 stops underexposure worked best compared with the Pentax MX meter reading through the R29 filter. I think this may also have been related to choosing primary subjects that were red or white, ensuring plenty of red light for the film to record.I found some of my shots at larger apertures looked a bit soft and I'm not sure if this was because of difficulty in ... MoreIlford state that this film, while not being infrared gives similar results. Without having access to an infrared film we are never going to know for sure. It does, without doubt give dramatic results when paired with a dark red filter - I used an R29 from Tiffen. I had very satisfying results with the film in a Pentax MX and 24mm f2.8 A series lens. Ilford recommend bracketing shots by 2 stops. I found that 2 stops underexposure worked best compared with the Pentax MX meter reading through the R29 filter. I think this may also have been related to choosing primary subjects that were red or white, ensuring plenty of red light for the film to record.I found some of my shots at larger apertures looked a bit soft and I'm not sure if this was because of difficulty in accurate focus through such a dark red filter or my lens being unable to focus the extended red wavelengths of light on the same plane as other wavelengths. My bracketed shots when stopped down look sharp.Shots with people in look ghostly, with dark skies, stark clouds, and ethereal vegetation all achievable. It pays to think carefully about composition and the colour of your primary subject.I developed the film in ID-11 to Ilford's instructions. All fine.Quite grainy for an ISO 200 film, but all in all very pleasing and great fun.
originally posted on analoguewonderland.co.uk
I went to Scotland armed with SFX and an IR filter, in search of dramatic skies. 2 weeks of 100% cloud cover later I gave up and shot it on a drizzly afternoon. Pleasing grain (to my eyes) and a nice range of tones. I develop in caffenol, and it works OK but this one seems to have a darker base than usual. The scanner dealt with that OK though.
| EI 200/24 | ILFOTEC DD-X |
| EI 400/27 | ILFOTEC DD-X |
| EI 800/30 | ILFOTEC DD-X |
| Finest grain | ILFOTEC DD-X |
| Maximum Sharpness | ILFOSOL 3 |
[EXPIRED 07/2024] ILFORD SFX 200 - 120 Black & White Negative Film
Delivery $12.43
Ilford SFX 200 120 Film (Expiry 06/2026)
Ilford SFX 200 120 (medium format) black and white film
Delivery $65.70
Ilford SFX 200 120 black/white film
Ilford SFX 200 120
Delivery $31.30
Photo by reviewer: False Spirea Starburst, Cheshire, 2024.I loaded this film and went out looking for subtle infrared effects in plants and leaves. The photographs I took were in shade rather than direct sunlight. I used a 3-stop red filter on the camera lens and therefore a tripod was needed. I have found that photographs made with this film without a red filter look very similar to normal black and white film images, so a red filter is essential if you are looking for effects.This film should be handled and loaded into the camera in subdued light, although total darkness is not required. If you are developing the film at home, total darkness is required when loading the film onto the reel and into the developing tank, just as with regular black and white ... MorePhoto by reviewer: False Spirea Starburst, Cheshire, 2024.I loaded this film and went out looking for subtle infrared effects in plants and leaves. The photographs I took were in shade rather than direct sunlight. I used a 3-stop red filter on the camera lens and therefore a tripod was needed. I have found that photographs made with this film without a red filter look very similar to normal black and white film images, so a red filter is essential if you are looking for effects.This film should be handled and loaded into the camera in subdued light, although total darkness is not required. If you are developing the film at home, total darkness is required when loading the film onto the reel and into the developing tank, just as with regular black and white film.This photograph of a False Spirea plant (above) was my favourite. I was delighted with the gentle glow of the leaves in the image.Some previous testing with another roll of SFX film showed that, with my equipment, I needed to add an extra stop of exposure in addition to that determined by the through-the-lens metering (with the filter on the lens). However, I would advise bracketing in any case, because results can be a little unpredictable.The film was developed in Ilfotec DD-X for the manufacturer's recommended time. I printed the image on Ilford Multigrade RC Deluxe (pearl) at Grade 3. I applied some dodging to the centre leaves and a little burning to the leaves at the bottom of the image.The image uploaded here is a photograph of my print.
Ilford state that this film, while not being infrared gives similar results. Without having access to an infrared film we are never going to know for sure. It does, without doubt give dramatic results when paired with a dark red filter - I used an R29 from Tiffen. I had very satisfying results with the film in a Pentax MX and 24mm f2.8 A series lens. Ilford recommend bracketing shots by 2 stops. I found that 2 stops underexposure worked best compared with the Pentax MX meter reading through the R29 filter. I think this may also have been related to choosing primary subjects that were red or white, ensuring plenty of red light for the film to record.I found some of my shots at larger apertures looked a bit soft and I'm not sure if this was because of difficulty in ... MoreIlford state that this film, while not being infrared gives similar results. Without having access to an infrared film we are never going to know for sure. It does, without doubt give dramatic results when paired with a dark red filter - I used an R29 from Tiffen. I had very satisfying results with the film in a Pentax MX and 24mm f2.8 A series lens. Ilford recommend bracketing shots by 2 stops. I found that 2 stops underexposure worked best compared with the Pentax MX meter reading through the R29 filter. I think this may also have been related to choosing primary subjects that were red or white, ensuring plenty of red light for the film to record.I found some of my shots at larger apertures looked a bit soft and I'm not sure if this was because of difficulty in accurate focus through such a dark red filter or my lens being unable to focus the extended red wavelengths of light on the same plane as other wavelengths. My bracketed shots when stopped down look sharp.Shots with people in look ghostly, with dark skies, stark clouds, and ethereal vegetation all achievable. It pays to think carefully about composition and the colour of your primary subject.I developed the film in ID-11 to Ilford's instructions. All fine.Quite grainy for an ISO 200 film, but all in all very pleasing and great fun.
I went to Scotland armed with SFX and an IR filter, in search of dramatic skies. 2 weeks of 100% cloud cover later I gave up and shot it on a drizzly afternoon. Pleasing grain (to my eyes) and a nice range of tones. I develop in caffenol, and it works OK but this one seems to have a darker base than usual. The scanner dealt with that OK though.
I was very excited to use this film stock. I am greatly inspired by the work of Nick Brandt who uses/ed Infra Red film for a lot throughout his work. However, as much as I enjoy the look of this film, I didn't get the desired look I wanted out of the role of I shot. I used a red filter throughout and that still wasn't enough. To get the high contrast look it needs to be a very harshly lit day with a very rich blue sky which realistically limits you to a few weeks/months a year here in the UK. Great film and great look, but it takes effort and timing to achieve. Wth that in mind however, I'd still use it again.
Before using this film I checked the advice from the Ilford website. You absolutely need a tripod and a IR filter - I used a Hoya R72.Choice of camera helps. With an SLR you won't be able to see anything with the filter in place - A TLR or Rangefinder will be easier to use. I used my Mamiya C220 TLR.Pick a bright sunny day to get the best results. Overcast conditions will give dull, grey results.For exposure your exposure meter will not be accurate, and it is best to use a modified version of the "Sunny 16" rule. For sunny conditions it's best to start with 1 second at F8 (using the R72 filter) and bracket 1-2 stops either side.Follow that and you'll get great results. Skies are dark, foliage is almost luminescent, and stone buildings shine !
Using a Yashica Minister and an r72 it was great fun to see what I could achieve, involving a lot of messing about with Photoshop. The first thing I noticed was that my iso was too low, and the negatives were very grey. Next time I shall up it to 12, maybe 25 just to see what happens. There is no setting for infra red focusing, so a little twist down from infinity seemed appropriate. Sadly, carrying a tripod is not part of my usual routine, as I have cameras with stabilisation, hence all my shots are hand held, around 1/8 of a second. I could have done with one here!
Not quite a 100% infrared film, but very close. It is technically an extended red-sensitive film. Shot with a red filter, you get cool results, BUT what you really wanna do is cop an R72 filter if you're beginning and really want to unlock the power of infrared. Nice to have it at ISO 200 in case you wanna snap a couple of shots without the R72, that'll make it perform like a regular black and white film, just with higher sensitivity to red. That also opens it up to fun experimentation! That being said, the infrared effect is fantastic, I had so much fun going out and shooting. I shot most of my images at f8 for 1s in the late afternoon on a partly cloudy day. I would move down a stop or two here and there. Check my images, I included one composite of 3 exposures ... MoreNot quite a 100% infrared film, but very close. It is technically an extended red-sensitive film. Shot with a red filter, you get cool results, BUT what you really wanna do is cop an R72 filter if you're beginning and really want to unlock the power of infrared. Nice to have it at ISO 200 in case you wanna snap a couple of shots without the R72, that'll make it perform like a regular black and white film, just with higher sensitivity to red. That also opens it up to fun experimentation! That being said, the infrared effect is fantastic, I had so much fun going out and shooting. I shot most of my images at f8 for 1s in the late afternoon on a partly cloudy day. I would move down a stop or two here and there. Check my images, I included one composite of 3 exposures for fun.
The main point of using SFX200 is to utilise it's near IR sensitivity. It doesn't give that IR until a 720nm IR filter is used. Red or dark red filters will darken skies but only lighten foliage a little.Grain can be a bit of issue but this can be tamed by developing in an ultra fine grain developer such as Perceptol. It has more controlled contrast compared to the extremes seen with the Rollei films. Retro 80s can for example yield blown highlights and limited shadow details on the same negative. Even more importantly is that the Ilford film is produced to a much higher standard than the Rollei films judging by the number of times I've experienced emulsion artefacts with the latter. The big BUT of course is the price. It's double the price of the Rollei films. ... MoreThe main point of using SFX200 is to utilise it's near IR sensitivity. It doesn't give that IR until a 720nm IR filter is used. Red or dark red filters will darken skies but only lighten foliage a little.Grain can be a bit of issue but this can be tamed by developing in an ultra fine grain developer such as Perceptol. It has more controlled contrast compared to the extremes seen with the Rollei films. Retro 80s can for example yield blown highlights and limited shadow details on the same negative. Even more importantly is that the Ilford film is produced to a much higher standard than the Rollei films judging by the number of times I've experienced emulsion artefacts with the latter. The big BUT of course is the price. It's double the price of the Rollei films. Its a shame as it's a great emulsion which would no doubt be used more if it wasn't so expensive.
I had another roll of this shizz, so while I gave it three stars because I didn't exactly fall in love with it the first time around, I gave it a second chance.These was shot in stronger - as in right over the back of your loaf lighting - and they're not so bad.I never got the infra-red vibe out of it, despite using a red filter so dark even Nostradamus would struggle to see through it.And noisy, probably not helped by dropping the blacks a bit and giving the contrast a tickle in post.But it's given me an idea - like give the wolf a blast of flash next time - so maybe good enough to get another roll in the stash.
| EI 200/24 | ILFOTEC DD-X |
| EI 400/27 | ILFOTEC DD-X |
| EI 800/30 | ILFOTEC DD-X |
| Finest grain | ILFOTEC DD-X |
| Maximum Sharpness | ILFOSOL 3 |
