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trix

Vertical WPC

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Vertical WPC

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  • Jan 30, 2026
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RalphLambrecht

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my fil supplier ran out of tmax400. so, i'm going to give trix a try.is there anything i should be aware of from your xprrience? got no time to make all the mistakes myself. ye, a proper film test is coming soon.just wanted to get started sooner than tha. i will most likely develop in d76 or make my ownfrom scrtch
 

Renato Tonelli

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I use it with a variety of developers, depending on the lighting situations I've shot it in.

D-76 1+1 average lighting conditions
Microdol-X 1+3 (rated at EI 200 - in contrasty situations)
XTOL 1+1 excellent grain - slightly better than D-76 - somewhat contrastier in my experience
D-23 1+1 excellent for low values -
Acufine or Diafine when I am shooting in extremely low light situations such as Jazz clubs.
Rodinal - when I'm out of everything else and don't feel like mixing chemistry...

Be careful - you might become addicted to Tri-X.
 
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I'm assuming you mean Tri-X 400. The curve is not much different than TMY, other than it needs a little more exposure for equivalent shadow detail. For my taste, I'd give it an extra stop. Grain ismore prominent, so depending on what format you're shooting I'd suggest using D76 at 1+1 rather than stock for slightly sharper grain.

I agree with Michael. Give a bit more exposure to land shadows on the straight line. I shoot it at 250. Also agree regarding grain; since it is a fair bit more prominent than TMY2, it's best to keep it sharp.
 

Yamaotoko

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Tri-X is one of my standards across all formats (TXP in 45 is a little different, but I still treat it closely the same). My personal taste is adding 1/3 stop to box speed and developing in Xtol 1:1, unless pushed to ASA1600, then it's 1:2. Very easy to print with, even badly exposed night street shots at 1600.
 

Bill Burk

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You saw Chuck Porter's curves with Tri-X and HC-110.

I've been thinking of trying that combination to see if I get upswept curves like that too.

If it's really the curve shape (and not a testing artifact), then I'm curious to find out what impact it has on "tone reproduction".

For example, based on the curves, I imagine the shadows are luminous because they come up fast. They stay low contrast but adequate... Then the midtones begin to separate, possibly giving you plenty of control over the critical Zone VI skin tones.

But the highlights will blow out unless you are careful to control them.

I am sure this combination is what Ansel Adams fought to control over his lifetime.

I think I am spoiled by a straight line from speed point to 21 steps that I get with TMY-2 and D-76.

(p.s. I get relatively straight line curves from Tri-X and D-76)
 

Jim Noel

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If this is sheet film , the rating is 320 , not 400. It needs to be exposed at 200 if any shadow detail is desired.
 

Kevin Kehler

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Tri-X and FP4+ account for 95% of my film usage - I have found that Rodinal with Tri-X produces far too much grain for my liking (6x6 negatives, 1:50 Rodinal at 8x10 prints with grain) but Tri-X in D76 1:1 is superb, in tonality, sharpness and grain control. If you plan on shooting it at box speed (400), you might as well shoot it at 800 as there is no difference in development times and very minor shadow loss. However, I shoot mine at 200, usually add 1/3 stop for the yellow filter and it comes out wonderfully with very robust shadows. The sheet film is a completely different beast and works best shot much closer to box speed, again with D76 1:1, in order to exploit its' tonal curve to the max.

Ralph, if your supplier is out, is it just a temporary (1-2 week) problem and this is an urgent project? Otherwise, "dance with the one who brought you" (i.e. wait for your supplier to restock or order online).
 

seadrive

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If I were using TMY and couldn't get any, I'd use Delta 400 (actually, I use both).

An extra half-stop exposure, and a little more (say 10%) time in whatever you're using to develop TMY, and you're good to go.
 
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