Kodak 8667073 Tri-X 400 135/36 Negative Film - Black/White

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A direct link to our trusted and recommended online resource, supporting practitioners to understand the Act and implement the principles effectively into practice. It has been the first choice for many top photographers over its lifespan - in fact when Kodak went through bankruptcy and restructuring in 2012 Don McCullin panic-bought 150 rolls of Kodak Tri-X in case it didn't survive the turmoil! Fortunately for Mr McCullin and every other photographer, Tri-X did survive and is still available fresh in both 35mm and 120 formats.

Tone and contrast is very good and grain just enough to give the images the character that I look for in an analogue image. This experiment has certainly encouraged me to use this film again as long as it isn’t priced a lot different to its’ competitors. But the main reason is this: Compared to the old days, the paper print is no longer the significant endpoint in most cases. If I did go through the effort to make a great darkroom print, literally the next thing I’d do is put it on my scanner. Tri-X always was three different films: 35mm had that raw edge, medium format was a bit more refined and sheet film was sophisticated. In development, it can be pulled to 100 or 200 when necessary, and can be pushed out to 1600 quite comfortably, with some pushing it to its extremes of 3200 and 6400 with often experimental results.

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Kodak Tri-X 120 film is a truly legendary film. Kodak Tri-X emulsion was first introduced in 1940 in sheet film, making it over 80 years old! Anyways, the next article coming is related. I haven’t written it yet but I planned to write about my journey to printing my photos. This comment may have convinced me to do that. I know that there’s many film photographers who find that crisp contrast of Tri-X too hard – many seem to prefer the more graduated contrast of Ilford’s HP5 (an excellent film in its own right). But Tri-X, like Kodachrome, is a film that helped define photojournalism in the latter half of the 20th Century, and it’s something of a miracle that you can still shoot with a film that documented 1950s jazz clubs, the Vietnam War and the birth of punk. The photos were all developed in D-76 1:1 solution, with the exception of the music one which was developed in XTOL at 1600. Since the article, I’ve started shooting my music photos at 3200 on tri-x and pushing them in Ilford Microphen.

Joint Work, Legal Services, Lone Working, Ordinary Residence, Protecting Moveable Property & Belongings, Risk Assessment, Service Interruptions & Provider Failure, Recognising & Responding to Deprivations of Liberty, Deprivation of Liberty Safeguards, Liberty Protection Safeguards. Children’s homes provide support and care for the most vulnerable children and young people, so it is important residential staff have access to procedures, policies and guidance which safeguard children and young people in their care. Though its formula has gone through many changes over the subsequent decades, Tri-X still manages to retain the same visual signature it’s always proudly boasted. The modern formula may be a little sharper and the grain a bit finer, but the visual signature is still classic Tri-X. Eastman Kodak introduced Tri-X film in 1940 in sheet film formats. Kodak introduced 35mm and 120 versions in 1954, and, in subsequent decades, also sold 220, 126, 127, 16mm, Super-8, and possibly other formats. Kodak modified the film several times over its life. According to Wikipedia, “In 2007, Tri-X was extensively re-engineered, receiving the new designation 400TX in place of TX or TX400, and became finer-grained.” I have read that the new emulsion has some of the characteristics of T-grain films, although I cannot verify this, but that might account for the finer grain while maintaining the 400 film speed. The shotgun houses in the third photograph are a characteristic type of southern American architecture. They were mass-produced in the early 20th century for industrial and agricultural workers. They are disappearing rapidly, and I try to photograph them whenever possible. I have photographed them with film and/or digital many times (for more examples, please see this link, this one from 2004, and this one). The 2000sThese images were taken on fairly overcast days and I shot the film at it’s box speed of 400. Development was done in Rodinal at a dilution of 1+25 for 7 minutes.

Working across tri.x, the Content Review & Development Board members work tirelessly behind the scenes to;

The 1990s

For starters, I don’t shoot all that much film nowadays, maybe six or eight rolls of b/w a year (some of them are half-frame, so it’s a bit more than that sounds.) Coupled with my not having a good location in my house for a giant enlarger anywhere near a water source, it just hasn’t seemed a priority. Not when scanning the negs works so well.