Ilford FP4+, and Ilford HP5+
Kodak HC-110, Adox Rodinal
Photographer’s Formulary TF-5 Fixer
These are the film stocks that you will constantly see in my refrigerator and the chemicals that sit on my shelf. The reason? They provide affordable, consistent, readily available, and provide excellent results.
This doesn’t mean that I do not enjoy other emulsions or chemicals as I am constantly experimenting with new emulsions, chemistry, and techniques. I do, however, base all of my analog photography work off this foundation and I think that this is important. With analog photography, it’s so easy to get mired in the numerous possibilities. Despite the very much exaggerated “death of film”, there are dozens of options and hundreds of combinations available to you in regard to commercially available film emulsions and chemistry. Start going down the rabbit hole of reading opinions on the internet and you’ll quickly find yourself extremely confused. This confusion is only exacerbated these days with the inevitable hype that surrounds newer film releases such as JCH Streetpan, Street Candy, Ferrania P30, etc. many of which could be considered in the “boutique” category in terms of their availability. The same applies to chemistry with the recent release of Cinestill’s monobath. When these things get released, everyone wants to hop on the hype train and try them and frankly, I think you should. Don’t get too carried away, though.
If all you’re doing is experimenting with this and that, it not only becomes more difficult to focus on your actual photography since you’re spending so much time researching the newest thing that you want to try out, but it’s highly likely that the quality of your work is likely to suffer as well. Aside from the issue of your photographic vision, analog photography is a tactile art that involves the manipulation of physical materials. That manipulation requires an understanding of those materials. Refined control over those materials means a refined understanding of them as well. Understanding here is the result of practice and experience. It’s one thing to read on the internet that a certain film is “high contrast”. It’s another thing entirely to shoot ten rolls of it and reflect on how the settings you used in particular lighting situations translated to that particular emulsion. It’s one thing to read a general line about how agitation schemes will affect the development process, but it’s another to experiment over and over again with the same chemical and film emulsion using different agitation schemes to see the impact. This may sound incredibly obvious, but many people underestimate how important this intimate understanding actually is when it comes to developing consistent results across a body of work.
This is not to say that certain film emulsions naturally lend themselves better to certain purposes or that certain developers are not better or worse for particular results such as softer grain or higher contrast. Every single variable that you have (film emulsion, chemicals, techniques) are tools. Much like tools, however, a tool that you use extremely well that might only be 70% good for a particular purpose will probably get you better results than a tool that you’ve never used before that’s theoretically 99% good for that purpose. I can’t tell you how many times people have asked me “What is the best film for ___________?”. My follow-up question is almost always, “What are your go-to films at each speed?” because when you don’t have a specific stock in mind, those films are what you should be turning to.
While I certainly keep the Ilford duo in my fridge at all times, I have other films there, too. These are films that I bring out for particular purposes when I know that I’m going to do something specific. If I need to push a film to 3200, I prefer Tri-X over HP5+. If I want moody street shooting at 400, I think that JCH Streetpan is an awesome film. If I’m taking a portrait in good lighting, I find Fomapan 100 to be a magnificent emulsion. If I want to throw something in my Holga for added “retro” style, then Retropan 320 Soft gives some really nifty extra-lo-fi results. If I really want tons of tonality on a bright day with some classic-looking grain, then Adox CHS II 100 would be my go-to (unfortunately, it’s been sold out for a while now). For a real cinematic look it’s Eastman XX all the way.
It’s actually quite rare at this point that I think that FP4+ or HP5+ are the IDEAL film for any particular task. If you dig through every possible combination of film and chemistry, there’s probably something that will work a bit better for the desired result. They are, however, some of the most versatile emulsions at their particular speeds, producing great results no matter what I’m looking for at that speed. They are emulsions that I know will not let me down and if I have only these two film stocks in my bag, I feel confident to take on just about anything.
When you start out, you will inevitably experiment and I think that the first thing you should try to find is your personal “go-to” film stocks at different speeds. What are the standards around which you want to build your body of work? As you experiment, you will begin to notice certain trends in your preferences. For instance, I realized early on that I simply was not partial to T-grained films. They have excellent tonality, amazing sharpness, and ridiculously fine grain, but to me they just felt too sterile and I felt that if I wanted that type of look, I could just shoot with my digital camera and convert it to black and white. So I moved toward more traditional cubic grain stocks and my desire for a great tones to serve as a versatile base led me to Ilford FP4+ and Ilford HP5+. Tri-X was a bit too high contrast for me at box speed (although it produces some great results), Acros 100 was a dubious proposition given Fuji’s status as a film manufacturer as of late, and companies like Adox and Rollei were not only nearly double the price here in the USA, but they were often out of stock for months at a time and I definitely wanted my “go-to” films to be something readily available that was probably not going to go away anytime soon. You might feel differently about any number of these things and arrive at a different conclusion in regard to your standard film stocks, which match your own personal style and ethos.
On the chemistry end, after having used Ilfosol-3, XTOL, D76, and other developers that either required mixing or fell to oxidation, I just wanted a highly concentrated developer that didn’t oxidize quickly and could be mixes on demand straight out of a bottle. Rodinal and HC-110 were natural choices for me and they behave differently enough at a range of dilutions that they give me a number of options with just two bottles rather than having a bunch of different developers slowly oxidizing. Again, availability, affordability, and reliability. I personally think that commercial chemistry is a bit easier than film stocks if only because there are less of them out there and quite often, there are only a handful that will be readily available in any area. Sure, the internet changes things a bit, but there’s nothing quite like being able to make an emergency run to your local camera shop to pick up chemistry in a pinch. For many, D76 or ID-11 is their standard developer with something like Rodinal or HC-110 taking a more specialized role. It’s all about personal preference.
Once you’ve settled on your standards, these will become the barometer by which you measure everything else. When you experiment to discover new tools, change only one element at a time. If you’re usually developing in Rodinal with Tri-X, use Rodinal with JCH Streetpan or D76 with Tri-X. Jumping from Rodinal+Tri-X to D76+JCH Streetpan won’t really tell you much about Streetpan or D76 individually, even if someone on a forum might have posted a nice image using that combination. Experiment in a deliberate and systematic manner and you will greatly increase your understanding of new tools that you can add to your creative arsenal. I think an important point to add about experimentation is to take your time getting to know the new thing you’re using. Shooting Retropan 80S today and then moving onto trying out Ferrania P30 tomorrow gives you little time or sample size to develop an understanding of the behavior of Retropan 80S in a variety of lighting conditions. So when you decide to pull it out later down the road, you might encounter unexpected results because you’re assuming that it’ll behave a certain way despite the shooting environment being different. Remember that being an analog medium, film stocks are subject to all sorts of different variables from lighting conditions to the ambient temperature. Take your time with each new thing and develop a good feel for it before moving on. When I try a new stock, I will usually buy 10 rolls at a time because it’ll generally take me that long to form a decent opinion about it.
I’d like to encourage everyone getting started in analog photography to find their fundamental tools first and foremost and then begin to explore the wonderful universe of possibilities from that anchor point. If you’ve found your own standard tools, feel free to let me know. I’d love to hear them.