Tag Archives: HP5

Ilford films

Ilford / Harman have asked me to shoot images to promote all ten of the films they produce. I have to create something eye-catching and inspiring for each of the ten films. Each image has to show what that particular film is capable of, or what it might be used for. The project is very exciting, but I’ve only got a month to complete it! I worked out that I will have to shoot for two days, process and contact for one day, then shoot for two days, process/contact for one day and repeat the cycle for thirty days. I have to come up with a strong shot every two days.

I’ll be shooting on a range of emulsions, from Pan-F at 50 ISO/ASA right through the mid speed range; FP4, Delta 100 and Kentmere 100, then the faster ones; HP5, Delta 400, XP2 and the fastest; Delta 3200. There is one other film in the range and that is the semi infra red film SFX. I’ll be leaving this one til last, not because it’s the least interesting, but because it needs full foliage on the trees to get the best out of it. Bare branches in weak spring sunlight will not produce a striking effect. Hopefully, by the end of the month we should have more greenery around.

When the final images have been chosen I will be required to produce fifty prints of each of the ten negatives. Quite a task, but one I’m looking forward to.

Screen Shot 2015-01-14 at 18.13.45


  1. Andrea

Posted 12/04/2014 at 1:42 pm

Oh nice. Looking forward to the results of this !
All 35mm?

  1. David McCormack

Posted 14/04/2014 at 8:02 pm

Fifty hand prints from each of ten!? Look forward to seeing the images and how you match them to each of the film’s characteristics. Looking at the photo of the ten films makes me realise how good it is that we still have a great variety of films to work with. And two from Kentmere… didn’t know about that. How do they compare to FP4 and HP5? Will have to wait for your photos I guess……!

  1. Keith

Posted 19/04/2014 at 8:38 am

I don’t envy your task Andrew, especially if there is a deadline to make.

I have often wondered why Ilford only have square images on their boxes of photographic papers?

  1. David Burrows

Posted 22/04/2014 at 8:30 pm

Hi Andrew
Looks like a tough project one that I would love to do, looking forward to seeing the results
Just a thought, do you remember when I did a workshop with you one on one, one thing I remember I photographed a raindrop on a leaf you showed me how to do on film, that memory has always stuck with me. You turned me into a photographer
Regards Dave

  1. Dave V

Posted 10/05/2014 at 2:55 pm

I discovered your blog while doing a bit of a web-crawl. I have been pondering loading my 1955 Rolleicord V, and leaving my digital camera in the closet. I was interested in the paper negative process also, and that is what specifically led me your way.
I am grateful Ilford is still on the scene, manufacturing film and paper. I tend to be partial to FP-4.
Nice blog!
Best, Dave

  1. Thomas Binsfeld

Posted 12/05/2014 at 7:27 pm

The difficulty in this task in my oppinion is what is the difference in the certain characteristics of e.g. PAN F, Delta 100 and Kentmere 100 …. or HP-5 and Kentmere 400.
The Delta 400 stands for more fine grain, the SFX is clear.
But also the difference between Pan F and Delta 100… Hard to make this clear in a single photo!


  1. BenSandyOscar

Posted 15/05/2014 at 11:24 am

Wow Sandy what an honour! Proud we are your customers! Can’t wait to see the results.

Spürsinn two bath developer

I was recently asked to give my professional opinion of one of a range of developers made by a company called Spürsinn. These are well known in Germany where they are produced, but I had not heard of them. Looking at the accompanying literature for the two bath developer I had been sent, known as HCD-S and HCD-2, I could see that they had done extensive testing. There were development times and detailed dilutions for 38 films and some of those had a long list of possible ratings and dilutions, -for instance there were 22 for Efke 50 alone.

They claim good results rating many of the films at a wide range of ISO settings. HP5 for instance can be rated between 25 and 25600 ISO. They also claim that these developers have excellent edge sharpness, good tonality and low chemical fog at all ratings. AND they have excellent keeping properties.  My first thoughts were that these were amazing and possibly exaggerated claims, so I began my tests hoping to be astounded, -but at the same time prepared for a disappointed thump of reality. These developers couldn’t be as good as they claim, could they? I needed to find out for myself.

I began my tests with the best film in the Ilford stable for sharpness and fine grain: Delta 100 and I shot 35mm because I wanted to use maximum enlargement to evaluate the quality. The first couple of films were very dense and I thought I had done something wrong. I checked my times and dilutions, shot another couple of test films, and after processing found exactly the same results. I contacted Spürsinn and they were extremely helpful, they looked into it and let me know pretty quickly that I had been working to a misprint (which apparently, 500 previous customers had not noticed!), and they supplied me with corrected time/dilutions, which worked better. The test prints from some of these negatives looked very crisp and the mid tones were punchy –what some refer to as micro-contrast and I found that the crisp detail that this developer produced showed one of my lenses to be not as sharp as I had previously thought!

I set about processing a few other films that I had in my darkroom. Next was FP4, this too turned out with punchy tonality, -ideal for low contrast subjects, but perhaps a bit too punchy for scenes of high contrast, or overexposed frames. This punchy quality is great for showing texture in low contrast subjects, like the mid to dark areas of a scene where you have similar shades, for instance: in weathered wood , like this old block.

Screen Shot 2015-01-14 at 21.14.15

Having processed a few films with the HCD-S / HCD-2 combination, I can see that these developers do produce clean shadow areas and enhanced sharpness, but with the enhanced grain that this micro contrast brings. Personally, I think this is a nice quality in 35mm photographs and one of the reasons why I shoot 35mm. In medium format negatives the grain would be much less noticeable and with even greater sharpness, so that is probably where this developer would really come into its own. I don’t know if you can see from this crop of the 35mm image above, but the detail is very good.

Screen Shot 2015-01-14 at 21.14.51

Density and contrast.

I am of the belief that what is considered correct tonality in a monochrome print is not absolute, but varies from region to region. In Eastern Europe for example, there seems to be a preference for higher contrast in their images. I think that this developer is designed for that kind of approach, but for the British photographer who, I think prefers a longer, smoother tonal range, it might be a little harsh. If you are getting negatives which are of a higher contrast than you are used to, the normal technique is to reduce the development time by 20%. If your negatives are still of a higher contrast than you would prefer, try a reduction of 25%. The instructions for the two bath process here, should, if it were a conventional two bath, need adjusting only in the second bath, but the instructions say to alter both. What they recommend is that you alter your dilution (both baths) but keep the time the same. So calculating 20% off a 1-24 dilution gives roughly 1-30.

Reducing the time should bring the density in the highlights down, with very little effect on shadow detail and would produce a negative with the same sharpness, but with a longer tonal range. I put my theory to the ever helpful Michael Weyl at Spursinn and he was interested in the idea, suggesting that he is going to start work on finding different dilutions for ‘British’ tastes soon.

When I printed from the Delta 100, Delta 400 and FP4 negatives I had processed for this test and review, I found the contrast was requiring pre flash and split grade printing to get a full range out of the negative. The FP4 being the most dense. I then calculated a new dilution with a reduction of 18%, keeping all other factors unaltered. The results were much better, but they were still more dense than the sort of negatives I am used to. The next test will be with a greater reduction.

Screen Shot 2015-01-14 at 21.17.53

It is important to note that this developer, and the others that Spurrsin make, are quite sensitive to dilution and agitation, so once you have established the correct time and dilution for your tastes, good processing technique is important. Working with a quality developer like this requires accuracy in exposure readings, focus and careful control of measurement/dilution/temperature and agitation in processing. Variations in local water hardness can have an effect on outcome, but methods to get around this are explained clearly in the extensive instructions. To reduce the possibility of this happening I would suggest using de-ionised water to make up your developers.

I have not had time to test a lot of films in this developer, but I shall continue to experiment with it. With the huge range of ISO ratings for so many films, there are possibilities for some quite interesting styles of photography. From (I would expect, but I’ve not tested yet) Ilford Pan F rated at 320 ISO for high contrast effects, through to Ilford HP5 rated at 25 ISO for a long, smooth tonal range. I am also interested to see if Ilford Delta 3200 rated at ISO 12800 will produce an exaggerated grain effect. I will be testing these ideas soon and will post my findings here when I have my results.

A friend of mine, Bruce Robbins writes a blog on film based photography which is very informative and has tested the Acurol-N developer from Spur. He can be found at: http://www.theonlinedarkroom.com

Currently, The Spursinn developers can be bought from:

Keyphoto –  http://www.keyphoto.com/latest-news.html?article=109

MacoDirect – http://www.macodirect.de/spur-acurol-250ml-p-2510.html?language=en&osCsid=782e362bc991eab30a270f24c72cd642 ,

Photoimpex – http://www.fotoimpex.de/shopen/chemistry/spur-acurol-n-250ml.html

and Spurrsin themselves in Europe – http://www.spuersinn-shop.de/index.php?page=product&info=681


  1. Andrea Ingram

Posted 05/07/2013 at 2:53 pm

Looks like something worth trying I must say

  1. Thomas Binsfeld

Posted 05/03/2014 at 2:42 pm

In the past I have tested several negative developers and always returned to ID-11 which I use since 35 years and know best. (Which is in opinion the most important thing in using negative developers.)

2. Andrew Sanderson

Posted 06/03/2014 at 11:36 pm

Dear Thomas, I think I am beginning to come to the same conclusion. I was trying out some other developers last week (Pyrocat, Microphen, Ilfotec DD-X) and my results were not consistent.

Night photography

First posted 16 November 2009

Although the weather is turning much colder now here in the UK, I really want to get out and do some more night photography. I’ve not done any serious night stuff for a while now and keep seeing shots while I’m driving or at other inconvenient times. I try to make a mental note of the location with the intent of going back with camera and tripod, but you know how it is, it doesn’t always happen. So I’ve decided I’m definitely going out this week.

prospect road, nottingham

I prefer cool, slightly misty Autumn nights for shooting. This is because it gets darker earlier, giving me longer to work and the misty air separates the tones as they recede into the distance (known as aerial perspective). This gives a better sense of depth and drama to a scene and suppresses the bright highlights of distant lights.

10 night back lane

Autumn also brings a colour change and the orange brown leaves reflect the street lighting better. This year I have missed the best of the Autumn colours as we have had some really windy weather, which has stripped many of the trees bare.

Coming back to night photography after shooting other subjects and styles for a while, I was thinking about approaching it in a different way this time. Previously I had shot mainly on 35mm and medium format. Now I think I would like to shoot on 10×8 using a 300mm 5.6 lens. This would be used at it’s widest aperture to give a very shallow area of focus which I think will accentuate the theatricality of the lighting, making each shot look like a stage set. I’ll post some images when I’ve done them.

copleys bakery

If you are thinking of doing any night photography and the lights where you intend to shoot are the common sodium type, then you might find chart 1 useful. These are the starting point exposures for Ilford HP5 under ordinary sodium lighting (orange lights).

The much brighter high pressure sodium lamps which are seen along motorways and in many city centres are paler in colour and twice as bright.

Use chart number 2 for exposures with such lighting.

As can be seen from the charts, the exposures increase dramatically as you use smaller and smaller apertures, this is down to reciprocity failure. This is a problem with exposures longer than one second, where extra exposure has to be added.

For anyone interested in taking night photography further, I wrote a book on the subject which has now sold out, but you should be able to find used copies on Amazon.

Chart 1

Screen Shot 2015-01-11 at 17.19.16

Chart 2

Screen Shot 2015-01-11 at 17.19.26

star trails

old railway station

night mist


  1. Posted 16/11/2009 at 5:56 pm | Permalink

    Firstly I can recommend Andrew’s book on Night Photography – mine came via ebay and I am sure a little patience would pay off there.

    Andrew have you ever used any of the Fuji films where reciprocity failure is said to be negligible and it may be possible to use 100ASA film and still get shorter exposures than HP5+?

  2. Posted 16/11/2009 at 6:06 pm | Permalink
  3. Posted 18/11/2009 at 5:51 pm | Permalink

    Amazing as always :)