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  1. #11

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    Hi,

    Thanks for the replies.

    I haven't completely ruled out SFX, I tried it a while back when Konica was available and I much preferred the Konica film, it was very fine grain and thus gave amazing portraits and figure studies (the eyes looked pretty wierd, but it did wonderful things to skin!) SFX isn't really a grainy film in 120 - it is based on HP5+ I believe, but it didn't give me the same silky smooth effect. Maybe if I worked at it - different filtration, developement in Perceptol stock or something.

    But as you can gather from the fact I haven't yet used up all my Konica rolls that IR was only ever something to play with occassionally, no big deal (we don't get enough of the right weather in the UK!)

    The Rollei films look interesting, I'll price them up and see it they're worth a play.
    Steve

  2. #12
    Toffle's Avatar
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    Quote Originally Posted by Neal View Post
    Dear Steve,

    Unfortunately, you have limited options. You've already ruled out SFX and Efke so it seems to me that you have to try the Rollei if you want to continue shooting IR. If granularity is really the biggest issue, why not try Efke IR820 in sheet film sizes?

    Neal Wydra
    I have to add my two cents here. I really do not find Maco 820 (Efke) that grainy at all... much less for me than SFX. This film gives such beautiful blacks and very smooth mid tones. I get really good exposures when I meter for ISO 3.

    Cheers...
    Tom, on Point Pelee, Canada

    Ansel Adams had the Zone System... I'm working on the points system. First I points it here, and then I points it there...

    http://tom-overton-images.weebly.com


  3. #13
    Marco Gilardetti's Avatar
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    Quote Originally Posted by steven_e007 View Post
    I haven't completely ruled out SFX
    Of course you know that SFX is not an infrared-sensitive film, and as a matter of fact is not advertised as infrared but as "special effect film", do you?
    I know a chap who does excellent portraits. The chap is a camera.
    (Tristan Tzara, 1922)

  4. #14

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    did anybody ever used kodak IR aerial 2424, my friend give me a few roll in 120mm (it cut from 70mm film), dont have time yet to test it
    quiet-light.blogspot.com

  5. #15
    AgX
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    Kodak 2424 has got the same emulsion as Kodak HIE.

  6. #16

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    Quote Originally Posted by Marco Gilardetti View Post
    Of course you know that SFX is not an infrared-sensitive film, and as a matter of fact is not advertised as infrared but as "special effect film", do you?
    Indeed, it is an extended red sensitivity film, going down to around 750nm or so... only just dipping out of the visible spectrum, but then the Konica film was much the same, extending maybe just a little bit more into the infrared. The true infrared films go much furher, into the 800s, but then they become a bit of a pain to handle, sometimes.

    The real appeal for me with the Konica was the very fine grain. I reckoned it was how I imagined an SFX version of Delta 100 might look, really smooth and although it had similar sensitivity to SFX, the pictures were certainly... different.

    Does anyone know anything about the history of the Konica film? Where it was made and who by? Was it badged by konica? Just curious.

    I'm off to play with some SFX and see what I can get out of it
    Steve

  7. #17
    AgX
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    Quote Originally Posted by Marco Gilardetti View Post
    Of course you know that SFX is not an infrared-sensitive film, and as a matter of fact is not advertised as infrared but as "special effect film", do you?
    There is no definition of what is an "infrared film". Manufacturers use quite different designations. One would call a film an infrared film, whereas a similar film is just stated by another to be "extented into the near-infrared". And a third one offering a film which stretches even further into the infrared doesn't even use the term infrared.

  8. #18
    Marco Gilardetti's Avatar
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    I know a chap who does excellent portraits. The chap is a camera.
    (Tristan Tzara, 1922)

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