Reflx Lab Pan 200 Film Review with Infrared Shots (Agfa Aviphot 200)
Reflx Lab Pan 200 Film Review with Infrared Shots (Agfa Aviphot 200)
Analog Film Review
Reflx Lab Pan 200 Film Review with Infrared Shots (Agfa Aviphot 200)
Have you ever tried infrared photography? Reflx Lab recently released Pan 200, a black-and-white film with extended infrared sensitivity, respooled from Agfa Aviphot 200. I tested two rolls, and it immediately reminded me of my very first experience with infrared film—Kodak High-Speed Infrared, gifted to me by Stev from Rewind Film Lab Australia. That dreamy look left me with an unforgettable impression of IR photography.
You’ve probably seen the iconic Kodak Aerochrome shots—those vivid pink trees against bright blue skies, popularized by channels like Grainydays. I haven’t had the chance to shoot Aerochrome myself (though I wish I could one day), but Reflx Lab Pan 200 offers something different: a versatile black-and-white film that shoots normally while also unlocking the surreal world of IR photography when paired with filters.
Reflx Lab Pan 200 – Agfa Aviphot 200
According to Reflx Lab, Pan 200 is a respooled Agfa Aviphot Pan 200, a panchromatic black-and-white negative film with sensitivity into the near-infrared spectrum, reaching up to 750nm. Originally designed for industrial and technical uses like aerial mapping, surveillance, and reconnaissance, it has since found a second life in creative photography. Rollei Superpan 200 and Catlab 320 are said to share the same emulsion.
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Key Characteristics
Nominal Speed – ISO 200
Medium speed, with flexibility for both standard shooting and IR experimentation.
Infrared Sensitivity & Haze Penetration
Extended sensitivity allows it to cut through haze, fog, and atmospheric conditions that soften other films.
High Contrast & Sharpness
As a film built for technical imaging, it delivers crisp details with strong contrast. This isn’t a soft or dreamy film—it’s precise, punchy, and designed to hold clarity where others falter.
Grain
Noticeable but expected for its speed and purpose. It adds character without overwhelming the image.
Usage Considerations
Because of its origins, Pan 200 responds differently in standard consumer labs. Scans and prints often appear more contrasty than softer B&W films. Its IR sensitivity can also produce glowing highlights or halos on reflective surfaces in strong sunlight.
For landscapes, architecture, or hazy cityscapes, it excels. For portraits, though, its punchy contrast and strong tones may feel less flattering compared to films designed for skin tones.
When I’d Use Reflx Lab Pan 200
- Landscapes with haze, fog, or atmospheric conditions.
- Street photography with bold light and shadow.
- Experimental work when I want raw character rather than smooth perfection.
- Infrared photography with foliage turning luminous and skies darkened.
- Sunny day only
Shooting Infrared with Pan 200
Before trying IR, I knew little about the process—but Stev shared some key advice:
- Load the film in complete darkness.
- Store it in opaque canisters.
- Use an IR filter and follow the red focus markings on your lens.
The ISO setting depends heavily on your filter and conditions. After some trial and error, I found ISO 5 gave me the best results: glowing white foliage and deep dark skies. This means you’re shooting nearly 5⅓ stops slower than box speed. A tripod and shutter release are essential—exposures at sunset were typically between ½ to ⅛ second at f/8–f/11.
I used a Hoya R72 filter, which blocks wavelengths below 740nm, passing only deep red and infrared light. From 760nm to 860nm, transmission is around 95%.
What I love about IR film is its unpredictability—it reminds me of shooting with the Widelux F8. You never fully know how sunlight and objects will react until you see the negatives. I’m still keen to test Pan 200 in early morning and midday light for different effects.
The Infrared Character of Aviphot 200
I shot at Nam Sang Wai, Yuen Long, Hong Kong’s last river crossing. With my tripod, Mamiya 6 and 75mm f/3.5, I spent over 30 minutes composing under the nearly opaque IR filter.
At 5 pm, drenched in sweat, I shot mostly at f/11, ½ second, ISO 5. Developed in Kodak D76 and scanned by HKcamera, the results were worth it—dreamlike images with luminous foliage, dramatic skies, and that unmistakable infrared character. Rangefinder and TLR cameras are particularly practical here, since the filter makes composing through an SLR nearly impossible.
This was also a personal project: documenting the last hand-paddled ferry crossing in Hong Kong. The same boatman I photographed in 2016 was still there, rowing people across the river—a living thread of continuity in a fast-changing city.
With IR filter (left) and No IR filter (right)
Final Thoughts
Before Pan 200, I was already a fan of Rollei Superpan 200 for its contrasty black-and-white look. With infrared, there’s a steeper learning curve—it requires patience, light, and trial and error. If you shoot under weak sunlight or without proper metering, results can be underwhelming.
Based on my experience, ISO 5 is the sweet spot for that glowing “IR blossom” look, though you can try ISO 12 (as suggested by Reflx Lab) for a subtler effect. Always meter carefully—expose for the highlights if the scene is simple, or balance highlights and shadows in more dynamic lighting.
Infrared photography isn’t predictable, but that’s part of the magic. Pan 200 may not be an everyday film, but for those who want to step into the surreal, it’s a rewarding stock to experiment with.
All images have been resized for faster webpage loading. For high-resolution versions, please check my Flickr account.
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