How did you choose your film?

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ChristopherCoy

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Everyone always says "pick a film, pick a developer, and stick with them", but no one ever says (at least in my generalized observations) HOW they came to the decision that they themselves chose.

Personally, I've shot more Tri-X than anything, and I cannot pin-point why. I believe its because somewhere or somehow I have developed a perception that it's more "traditional" than anything else. It probably has less to do with the scientific aspect of things, and more about the "feeling" that I'm using "original" B&W film. Much like when I decide to read something, I prefer a real book over an e-reader, and I prefer reading first editions, instead of later printings. It's as if the information contained in later versions of a book isn't the original text, or its been changed to an unrecognizable form, so I always seek the first versions out. It's the same with film. I guess I shoot Tri-X because "it's the first version". Which is ludicrous, I know, because other films existed before Tri-X, but that's probably what it all boils down to.

I recently watched the short video on youtube of the walkthrough of the Ilford plant, and it got me to thinking about why I chose Kodak over Ilford. And after the video, I felt the need to change to HP5 simply because it's manufactured in the small village, at a single plant, with the same workers who have been there for decades, and I'd rather support them than a corporation like Kodak. Is that a viable reason to choose one over the other?

So how did you choose your film? Do you shoot what's most readily available in your area? Did you perform extensive tests to compare things? Is it a certain belief, opinion, or perception that you hold? Have you just used the same film all these years, that you were exposed to in your high school photography class? Does one film simply instill a "feeling" in you that another one doesn't?
 

Anon Ymous

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First I consider the characteristics of the film I'd like to use. Speed, grain size, sharpness etc. Then it's simply a matter of price and availability. I don't know what brand loyalty is.
 

Don_ih

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Well, there's my favourite film, Rollei Superpan 200, which I like because, when it's exposed and developed just right, it looks exactly how I want it to look. And then there's all the film I end up using, which I get cheaper by searching out cheaper film......
 

glbeas

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I have several kinds of film, mostly outdated stuff. I like to play with different kinds but gravitate to the 100 speed or slower when I can. My favorite for a long time was Ektapan but thats rare as hens teeth now.
 

Auer

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Ilford and Kodak is available locally for me, from a small camera shop so I use a lot of that.
But I order a lot online too, and really like the look of Bergger and Foma.

IOW, variety is the spice of life, for me.
 

Paul Howell

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I shoot 3 black and white films, a hold over from the 60s when I was in college. As a PJ I've shoot mostly fast film, started with TriX, now shoot Tmax400 and Foma 400 as my walk around film. For portraits medium speed film, started with PlusX not shoot Foma 200, a slow speed film, Iflord panF, in LF, use to shoot TriX, now shoot Foma 200. I was shooting a lot of Ultrafine as my walking around film, prices increased so moved to back to Foma. When I travel I use Tmax400 and 100.
 

Don_ih

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A much overblown philosophy, by the way.

I know of one very good large format photographer who has stuck with hp5 for decades - in the same camera with the same lens - in 8x10. His results are amazing.
 
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ChristopherCoy

ChristopherCoy

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I know of one very good large format photographer who has stuck with hp5 for decades - in the same camera with the same lens - in 8x10. His results are amazing.

Master of one, instead of jack of all?
 

Don_ih

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Master of one, instead of jack of all?

He's been teaching photography at college level for decades. He does use a digital in a more casual way - and I'm sure he's used plenty of film and cameras. But his experience with the 8x10 and hp5 is so vast that he can assess a situation immediately for proper exposure - including the use of flash. His name is Stephen DiRado - he has a website.
 

Don_ih

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In addition, film/development really isn't where most of the control is. The control is under the enlarger (or in whatever digital editor). That is where most of the craft is

The guy I'm talking about makes only contact prints. And there is a whole lot of control to be had when developing single sheets of large format film. Also, enlarging a badly exposed or badly developed negative isn't as fun as enlarging a good one. It's with a good negative that you can really make things the way you want them.
 
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ChristopherCoy

ChristopherCoy

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Doesn't apply. A commonly parroted myth in photography is that there is a lot involved in "mastering" a film/developer. It's ridiculous.

I don't disagree with you, so don't take offense to what I'm about to say, but... for every photographer that cites myths about photography, there's at least a three more who cite scientific facts. That's not to say that one is more valid than the other, just that it leaves people like me exceptionally confused when attempting to make their own choices.

Personally, I do believe that using only one film/camera/lens/football/tennis racket/bat/car/computer/piano, makes the user more successful at whatever they are trying to achieve. My brain works in a manner that when it has too many choices, it can't settle on one, (eta) and it certainly can't excel if it's always wondering if there's something better/different.
 
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Don_ih

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Good negatives are definitely good, for contact printing or enlarging. There just isn't that much involved in making them.

I can think of examples of superb workers of both types - those who swear by a particular film/developer, and those who don't.

We tend to gravitate to the methods of people who's work we admire. There is nothing wrong with that.

Well, look at it this way: If you snatch up some roll of AAAPanFilm100 that you've never used before, how do you expose and then develop it? Or do you believe there is no nuance to be explored with each and every film (like 1:100 Rodinal stand-developing people may or may not believe)?

I use all kinds of films and developers and mess around but I'm only amusing myself. If I was to pursue a dedicated project or expect to be paid, I'd want to nail down the best possible working combination for what I was doing - to try to eliminate unnecessary concerns and reduce the number of variables to consider. So, while it's may not be particularly hard to get a good negative from AAAPanFilm100, you would at least first how to figure out how to do that - until you do, it's unusable for anything that matters.
 

Don_ih

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I'm not trying to say one shouldn't choose one thing and stick with it. This is a perfectly valid way of working, and can also keep things simple. There is certainly no need to jump around for no particular reason. However people tend to be dogmatic about these things, which is fine, but that does not mean there is any relationship between a particular worker's print quality and the choice to use one film.

The fact is, though, that for particular people, there is a relationship between their print quality and their familiarity with the qualities and behaviour of their chosen film and developer combination. And, while competent craftsmen would adapt to a new film and/or developer, he or she would first have to gain an equal familiarity with the new material.

And I really am only talking about the people who are most comfortable working in that manner. Obviously, it doesn't matter to people who don't adopt that practice. After all, whatever picture has been made is normally a unique thing, and you can't compare it with how it would have been if it had been something else.
 

DWThomas

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In thinking about your question I have to admit my choices early on (late 1950s and 60s) were mostly a matter of price and availability with some additional consideration of speed and grain.

(A bit of TL;DR amplification ...)
I grew up in a US east coast metro area (Philadelphia suburbs) and Kodak was the stuff you could find almost anywhere. My general goto (working in 35mm) became Plus-X as a suitable tradeoff between speed and grain. And the "Great Yellow Father" had a huge presence in media advertising. Later, as disposable income increased, I did mostly color slides -- Kodachrome!!! and eventually more into Ektachrome. Once slideshows became less of a fit for my lifestyle, I went over to color prints. With that I still tended to reach for the yellow boxes, although by the 1990s or so I wasn't adverse to the green boxes. That sometimes depended on price versus how "important" the shooting needed to be.

So when in the 2000-oughts I came back to firing up the darkroom and shooting B&W, I naturally went for Plus-X and Tri-X. These renewed efforts were with medium format so grain was less of a factor. Then I tried some Acros 100 which was a little more than half the price per roll at the time and found it quite worthwhile also. As I got deeper into it and noted the shakeups in the industry I went on and tried some Ilford products.

For the last dozen or so years, shooting 120 roll film, most of my shooting was Plus-X -- until it went away, Acros -- until it went away (it's now back -- and $$$$ -- but I've not yet tried it), and a lot of Tri-X. As the backing paper problems reared up, I've mixed Tri-X and HP5+. The latter two, other than developing time, are pretty much interchangeable for my purposes and I actually alternated rolls on a major trek a few years back with the hope that at worst I'd only have half my shots screwed up! Currently FP4+ has replaced the Plus-X.

In 35mm, which in recent years I shoot very little of, I have shot largely 400 Tmax -- fast but decently small grain size. Of course for full nostalgia, on Argus Day each year I have taken my C-3 out, and for several of those events I've shot -- are you ready ... Panatomic-X! I was gifted a 100' bulk roll, expiration December 1988, storage conditions unknown. It still works surprisingly well, although there are some occasional unexplained "divots."

Virtually 99% of my color shooting in this millennium is digital -- sorry, just the way it is. Oh -- and I have been shooting Fuji X-ray film in my 8x10 pinhole camera.

OK -- that's the whole history!
 

Horatio

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Lots of variables to consider. For now I’ve settled on Ultrafine Finesse 400, which is only available in bulk. It looks good (to me) souped in either Rodinal or D76, and I get decent results at box speed when scanning. Who knows when I’ll try wet printing, but that could certainly affect which developer I prefer. Ultimately I think what’s preferable is so personal, in terms of grain, acutance, etc. that it pays to try different products until finding the “best” combination. Sometimes it’s a matter of economics. As for me, I’m still refining the “look” I want. I’ve ruled out Foma 400 and Rodinal!
 

Don_ih

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When it comes to control over the negative, people aren't always getting what they think they are getting.

Yeah - especially if you're referring to pushing film more than a stop past where it should be.
There are basic characteristics of developers that can be handy when developing a particular film that's been shot in a particular way (using d23 to develop Kentmere 400 that's been shot with flash can make it less lithographic, for instance) -- but none will "work magic" on a film. And I don't actually think it would take that long to work out a good way to expose and develop a particular film. It did take me along time to figure out how to expose and develop Rollei Superpan 200 - none of the suggestions I found online worked. I ended up exposing at 160 and developing in d76 1:1 for 10 3/4 minutes plus a 5 minute borax bath. In dim light, you need more exposure - probably rate it 100. It's an example of a poorly behaved film. But, if you're paying attention, it doesn't take that long to figure it out -- you just have to get accustomed to the idea that you are probably doing something wrong....
 

John Bragg

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I started out with FP4 in 1985 and gradually moved over to Tri-X being justifiably swayed by its reputation. I now use HP5+ exclusively since Tri-X is too pricey for me. No regrets as it is a fine film in its own right and as good as Tri-X any day. I tried Delta 400 briefly but found I prefer HP5+ and my bank balance does too.
 

radiant

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Foma 100 - cheap but capable film for medium & large format. Especially cheap when doing large format. Not for 135.

Tri-X 400 - I like grain, so that limits Tmax 400 out (which would otherwise rule all). HP5 has a bit smallish grain and I've never liked it at box speed in 135 format.

I think that over worn slogan "choose one film and stick with it" is a bit paradoxial.. How can I choose one a film without trying them all? And how soon they expect me to choose one film? I think that takes lifetime.

Maybe the slogan should be "choose HP5, Tri-X or Tmax 400" , stop worrying and go shooting.
 

Craig75

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I shoot ilford simply to support a british company and a company that supplies everything needed for black and white photography. If i lived in czech republic id use foma, adox in germany etc
 

BGriffin23

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HP5 is consistently the least expensive film on the market right now (if you look around it can be had for $5.50/roll 135-36 bulk) so I have a large ziplock bag of it stuck in the back of my fridge. I am quite happy with the results and have become more and more of a Ilford fanboy the more of their products (paper, chemicals, filters) I use. The fact that they are a small company like the OP mentioned is also attractive.
 

BradS

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In the beginning (ca. 1976), there was Tri-X and D76(1+1) and it was good.
and I used Tri-X because that is what the teacher told us to use and it was good.
and I used Ti-X for many, many years because I saw that it was good.
When Kodak went belly-up a few years ago, I switched to Ilford FP4+
I am happy.
 
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Andrew O'Neill

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The guy behind the counter at local camera store in Japan suggested I try Tri-X, and some bag of powdered Fuji developer. I just remember that I wasn't too keen with the results... Switched to Neopan 100 and 400, HC-110 and was happier. Switched to HP5 and HC-110. Didn't like it. Went back to Neopan. Then Kodak came out with Xtol. Retried HP5 in Xtol and loved it! HP5 and Xtol 1+1 was all I ever used for several years... as well as HIE. Now along with HP5, I also use FP4, Rollei IR, Acros, extremely expired HIE 4x5, 8x10 Efke IR until I run out of it. I'm back using Xtol but replenishing it. Really liking the results thus far.
 

Sirius Glass

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To choose the developer, let me post something for the first time.
XTOL.png
 
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ChristopherCoy

ChristopherCoy

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