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what's going on everybody it's matt here
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again from filtergrade and
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today we have a good video for you guys
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east boston and we just went for a
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and i wanted to do a little review on
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which is um a black and white film from
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ilford but it's actually an infrared
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so even i'm not exactly sure what that
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the reason i picked it up was because i
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saw you know infrared that sounds cool
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so i went ahead and tried it out a few
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times in the past and
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i really liked how it shoots so i'm
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gonna be using it today
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uh and i don't know it's a really cool
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the the one difference is that i use
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for this film stock specifically is that
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scan it in color uh just the same as a
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um instead of scanning it as black and
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white and that way i kind of get some
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or brownish tone even for some of the
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it's just a different process you don't
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um i think it's a little bit cooler and
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it gives it you know a little bit of a
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different feel than just normal black
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um we're gonna be in east boston like i
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said let's just go ahead and get into it
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all right so we got ilford sfx 200
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loaded in i'm going to be shooting it at
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box speed because it's daylight out
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right now so i feel like
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it should be good if anything maybe i'll
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shoot it at like 150 iso
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but let's just we'll just start walking
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we'll figure something out i want to get
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like a flat leg with the flash
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i think that'll look sick honestly
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because all of it'll bounce back too
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can you hear that powering up
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that's my favorite part about the flash
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literally turn into a robot
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you can see like crab legs and stuff on
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like the little ones look at that
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oh that's sea glass i thought that was a
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this is muck matter over here be careful
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i still haven't gotten to the point
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what to do with flash especially for
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or i mean film cameras especially
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but for for film flash i still haven't
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gotten to the point where i know
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like if the light meter understands that
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i have a flash and then i'm going to be
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so for me like i always do on the nikon
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you can see like the apertures are all
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and then even the shutter speeds there's
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different different colors so the
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i think that's orange or yellow whatever
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that is those are for
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you know one second two second four
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second eight second long exposures
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whereas all these regular silver or
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are just you know half
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like one half a second one fourth the
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second one eighth all the way up to one
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one one four thousand one four
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of a second but for some reason the 250
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and i'm convinced that shutter
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aperture 8 shutter speed um
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after shutter speed at 250 1 250th of a
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is like the perfect combination for
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flash for this camera
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and it's just been my go-to like
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whatever i'm shooting i'll go with that
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because it works out i've tried using
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like other combinations and for me
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i've gotten some like half exposures
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you know way way overexposed and then
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sometimes the flash just won't go off or
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be fast enough for the the shutter speed
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so for me i i've always just done at
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uh either eight or five six mixed with
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250 um shutter speed and usually it
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let's just keep i'm still i'm on like
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frame two so i want to make sure it's
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going and stuff let me get the old
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mookie picture no leave your camera
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there i want to get the bridge in the
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all right i want to get some more
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do you want to keep walking that way
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i don't want to get too much of the same
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honestly it's nice i'm not going to use
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for me if i'm going to use flash it's
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only going to be for something that
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like i'm close to so i can see like the
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bounce back of the flash
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if i have something far away i've tried
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using flash before and i realized like
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if you shoot flash for something that's
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like more than 20 30 feet
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away you're not going to really notice
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the fact that you even use the flash
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it's just too far away
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so for me when i'm shooting landscapes
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especially for like a bridge like this
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i've gotten to the point where i kind of
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you know i i like to think about the
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shot a little bit more
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especially when i'm shooting with film
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for it and i don't want to do like
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you know a whole roll of the same exact
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angle same exact shot
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so i try and like you know continue
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continuously just keep moving around
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get different angles obviously it's
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going to take you more time
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to move around in five to find different
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angles when it's something
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that's like big and far away
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the bigger it is the further away it is
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from the spot that you're at originally
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is you're gonna have to move to
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you know to make it actually a good
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different different shot so
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just that's one thing to be aware of
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like always be moving especially when
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you're shooting landscapes because you
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tons and tons of just the same shots
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look at this little little little thing
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i don't know what it's called but this
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uh i'm gonna do this with flash
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also don't forget to turn the flash on
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every time you use it
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i always forget and then end up using
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one more frame that i'd like to
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this is actually pretty neat parker
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there's like a lot of stuff
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the other park we were at earlier didn't
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have a bridge or any like thing to look
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at so i'm happy we came here
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all right let's try and get as close
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down there as we can
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what if i just went down all the way and
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look at that let me teach you something
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it's always worth a shot even if you
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it's always worth a shot even if you
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all right so i'm i i just finished up
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um of sfx 200 by elford i ended up
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iso i use the flash for maybe a third or
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maybe even half the row for you know the
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so i'm excited to see what it'll look
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like i enjoy shooting black and white in
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the fall because you can see the
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different gray and white
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complexions throughout all the leaves so
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i think it'll be cool
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let's go home i'm going to go scan these
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develop these and then
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i'll meet you back at the computer all
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right that's all for today's video and
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our review of ilford's sfx200 let me
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know what you think of the photos in the
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comments below and also
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let me know what you think about the
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kind of cast that was on the black and
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white film that we shot today
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i really hope you enjoyed and i
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appreciate you checking the video out
