What Chemistry To Home Process BW Film?

What Chemistry To Home Process BW Film?

One of the most asked about and talked about subjects here at The Film Photography Project is BW Home Developing and what chemistry to use. We devoted a large segment on the subject on Film Photography Podcast Episode 126. You can find that episode here. Below is the list of some terrific bw developers. Almost all of them are available right here at the FPP on-line store (at the best prices too!)

above: Kodak Tri-X processed in Leslie's favorite Xtol!

Kodak Xtol - First and foremost is Kodak's Xtol, it's my go-to, it is subtable for nearly all b/w films. It gives me true box speed, fine grain and high sharpness.  Xtol is a solvent developer, it produces fine grain by allowing silver to redistribute during development. This solvent action slightly reduces resolving power, the ability to discern 2 separate objects rather than a blur of the two.  For a less solvent action make a working solution with Xtol 1:1 rather than undiluted stock. One of the advantages of this developer is it mixes with room temp water. It comes as  a two part powder and not having to mix it at 125 degree allows me to use it sooner after mixing. When Michael Raso gets a new hand-rolled film in that doesn't have developing times I start with box speeds and Xtol. The disadvantage of Xtol may be more for the casual user than me, it's smallest unit makes 5 liters as packaged and sold in the US.  This is not a developer to overuse or keep on the shelf a long time, it dies quickly without warning and it's an ugly death. I keep track of the rolls I've ran and the date I mixed it, it really is the best way to keep from having any failures.  I am not one to find a false economy in extending chemistry, keeping track keeps my processing constant. This eliminates a variable when shooting different films or with different untested cameras.

above: FPP edu 200 processed in Rodinal.

Rodinal - One of my specialty developers is Rodinal,  in terms of actual usage is perhaps one of the most versatile developers made. It is virtually indestructible, it can survive for years in a half used bottle and still be good. While it can be used in a range of dilutions, the one I use the most is the 1:100 or 1+100 dilution. This dilution is usually used with very long developing times like 1 hour, commonly referred to as stand developing. When the times are this long and the developer is so diluted it is almost impossible to screw up your film processing. 6 minutes compared to 60 has advantages. If you accidently add or subtract a minute from that 6 minutes it makes a big difference in the overall success of your negatives, but a few minutes when your film is in the soup for an hour is no big deal. Rodinal is dependable and cheap due to the high dilutions you can use. If you do not have developing times available just soup those negatives in Rodinal, 1:100, 68 degrees, stand development for 1 hour and success will be at hand. Not many developers have been around as long as this, it has been available for over 100 years. It kind of fell out of grace when miniature films, 35mm, came into greatness, it is a bit grainer and when you are enlarging 35mm rather than 120 or 4x5 you'll noticed the grain structure. But, it has a found it place in our modern times and is still a worthy and viable product. Rodinal comes as a liquid and normally is mixed into a one shot working solution rather than a stock solution.

above: Kodak HIE Infrared Film in HC-110

HC-110 - The next bottle of developer on my shelf is another old standby, Kodak's HC-110. It comes supplied as a thick liquid syrup. Even though you can mix it to a stock solution further dilution is needed before using. Most find it easier to just mix it for a one shot working dilution right before use. A nice advantage when you use these liquid supplied developers is it is so easy to quickly get to your proper processing temperature. HC-110's selling points are ease of use, versatility, and reliability. The concentrate keeps for years; (4 to  5 years air tight) Buy a bottle and fill with marbles as you use it or pour some into smaller bottles and cap then use out of only one until it's gone. All types of black-and-white film can be developed with HC-110,  and results are consistent. Once again Kodak made the following comparison to their own D-76, they indicate that HC-110 (dilution B) produces, slightly less shadow detail or true film speed, slightly finer
grain and slightly lower acutance. Apparently, HC-110 has somewhat more solvent action than D-76, but less than Xtol. Opinions differ about the effect of HC-110 on grain, some report coarser grain than with D-76 and others report finer grain. In reality this is probably a function of dilution and agitation rather than the nature of the developer. Where HC-110 really shines for me is with old outdated films, it gives surprisingly little base fog even with very prolonged development. Old films have their fair share of age fog and HC-110 gives me a better chance of a useable negative. Like Rodinal, HC-110 keeps very well and gives very reproducible results. It is a good choice when failure would be costly.

above: FPP edu 200 film shot at 500 iso! Processed in Diafine.

Diafine - A classic specialty developer I have used from my days in a retail darkroom is Diafine. It's been around a long time and still comes in cans rather than envelopes or packets. It comes in two parts, and mixes up as a part A and a part B. If you buy a quart or gallon unit you will need two containers respectively, they are not mixed together in fact if you ever contaminate B into A, throw it out. Once mixed it lasts lasts at least a year. It is really an amazing developer to use and incredibly easy, so many rules of standard developing do not apply to Diafine. It has a fixed developing time without regard of temperature or film used. I as most, do not even bother taking it's temperature. Time and temperature really have no effect on the out come of your negatives.  There is one developing time with a reasonable ambient temperature of 75 to 85. Fast, medium and slow films can all be developed in the same tank, and contrast is not amplified by this
developer. It gives the greatest effective speed of films developed meaning this developer is used for push processing. It is very fine grain considering the push and has high resolution. I also use this for older films that have lost speed due to age just to get them back their box speeds. Diafine is simple to use but you must follow the directions. Here they are:

  • 1. Do Not pre-wet.
  • 2. Develop in Part A for a minumm of 3 minutes but it is ok if it goes over, rap for air bells, gentle agitation is suggested, I use the rod to agitate not my usual inversion method. Drain Part A back into your original container.
  • 3. Do Not rinse
  • 4. Pour in Part B the same time for A at least 3 minutes. Here again it is very important to have very gentle agitation. Pour Part B into your original container.
  • 5. Drain and rinse for 30 seconds NO stop bath. Fix, wash, hypo clear, wash, and Photo Flo if you use it.

Just a example of the speeds recommended are Kodak Tri-X and FPP400edu @1600, Panatomic-X @ 160,  FP4 @ 320 and I am currently using ISO 1.5 Svema Blue @ iso 6, I think it will do 8 or even 10. This is a fantastic field developer when conditions like temperature control are difficult and a must in my book for pushing film.

above: Svema MZ3 processed in TD3.

TD3 - The last developer on my shelf is Photographer's Formulary TD 3. It is a liquid concentrate and is mixed to make a working solution,  and is perfect for slow, contrasty films. I use it with Technical Pan  and with the microfilms sold by FPP. Now that Technidol is no longer made it was good to find this and have it for remaining stock as well as having much greater success with the microfilms.

Image by Michael Raso / Kodak Kodalith Ortho Film 6556 at an asa of 12Canon EOS Rebel G / Processed Kodak D76 (Stock Solution) 6 min at 68 degrees.

Kodak D76 - Ok so why does the industry and everyone else compare their product to D76? If a small camera store only carries a few developers why is one of them D76? Years ago before the Massive Developing Chart, why were even the most obscure films giving only developing times in D76? It is and has been an industry standard due to its proven reliability for many years and you do not get there without proving yourself again and again.

This classic developer is what a lot of us learned on. Today it is still  used by most schools with a film program. It works great with any film type, any brand, just look up your time up and process your film for dependable results. This developer is durable, many abuse past the suggested roll count without issue. It is easy to replenish and for schools with students plowing through many rolls a week this stuff just keeps turning out normal negatives.

Unlike Xtol D76 has a slow decline due to exhaustion, you will notice your negatives getting a little flatter, less contrast which will continue with each roll, unlike xtol which dies a total death quickly and with no warning.  Even on it's way out you will still have very usable negatives. There may be other developers which give slightly sharper negatives or a bit finer grain but the reliability, final look and tonality is just why people still use it. You have to love a developer that can handle pulling or pushing film speeds with ease like this developer. I love the fact that this developer is offered in a 1 litre size as well as a 1 gallon size. If you are an occasional developer you will love the smaller size. Most use this developer as a stock developer, measure it out, use it and pour it back for reuse, but can also use it as a one shot mixing stock solution further with water in equal parts for a working solution.  Diluting smooths the grain a bit.

D76 was first introduced in 1926 as a movie stock developer and when Tri-X 35mm came onto the scene in mid 1950s it was match made in heaven. When it comes to D76 the old saying of "If it ain't broke don't fix it" fits perfectly.

There you have it, my tried and true developers, each one has earned it's place on my shelf of honor, it's what I'm using.

All photos by Leslie Lazenby (unless otherwise noted)

Darkroom supplies are available at The FPP - http://filmphotographyproject.com/store/accessories/dark-room-supplies


Miguel Lopes (noob learning to develop)'s picture
Now for stop baths and fixers? Or are these rather indifferent in actual practice.
Leslie Lazenby's picture

Miguel, that is a very good question and one that we will discuss on a future podcast. Thanks for the question and keep listening.

miklops's picture
Thanks! Best Podcast on the Net!
Jim Grey's picture
What an incredibly useful survey of developers! It nudges me ever closer to processing my own b/w.
Regularguy's picture
I began mixing a formula equivalent to Kodak's now-defunct D-23 developer. It only has two ingredients, Sodium Sulfite and Metol (Elon). It's a soft-working developer, but works really well with today's films.
jeremy 's picture
I love the darkroom segments of the FPP. This one was particularly good in that you covered so many bases as regards which dev chems to use in which situations. As yet I use only a Rodinal but would like to try out Diafine and Xtol from the comments you made. The main thing is for me to get out there and shoot a lot more BW. Lesley is queen of all rooms dark!
Larry D's picture
Outstanding Miss Leslie.
Ralph's picture
One thing I love Diafine for is developing films shot through toy cameras. The push that it gives them is often just what you need with such limited cameras. Shots that would be thin or unusable if developed at box speed become just what I was looking for.
miklops's picture
Another question would be what you suggest as the ultimate noob B/W (and separately, slide) developing kit - for the noob who has a dark bag, cotton gloves, development tank and containers for measuring and storing chemicals, a bath tub and a lot of good will, time and patience :) Thanks for the amazing podcast.
Anonymous's picture
A wonderful podcast, interesting, funny and lots of experience given for free. I enjoy every episode and thanks to you all ! Espcially I love the darkroom tips, I would love to hear about your enlarging and developing paper workflow. Just starting this after developing my bw film for ages (mostly Rodinal, Tri X 400, grain is acceptable for me....) Greetings from the river Nahe valley, vineyards, small towns, about 80 km from Frankfurt airport in the southeastern germany ! Gerhard
Jim Melcher's picture
Leslie, I am a long-time listener first-time caller. This was a very useful segment, one of the best in a long string of great segments! I just know I will be re-listening to this episode to go through this segment again--maybe with my pencil ready! I just acquired an old Kodak Brownie Reflex 20, a faux-TLR. It had exposed film in it, Verichrome Pan. So what did I do? I bought some Diafine and souped it for five minutes in each Solution A and Solution B. I got actual results, 3 of which are available on my Flickr stream. Here is the best one: https://flic.kr/p/vWnGBp I have no idea who those kids are, but when I crossed posted it to Facebook, all my cousins "liked" it so they thought it was me and my brothers and our old dog, Terry! Keep up the good work on the show (what show?). My best to Matt and Mike and Justin and the gang!
Gordon Cooper's picture

Dear Leslie et al:

I have never gotten a usable pack of Xtol-every one has been bad/leaked on arrival. For 35mm I have become fond of FA-1027. The FPP 200 speed surveillance film soups very well at 11 minutes 1:14. Grain is very tight, no blown highlights. Rodinal is my go-to for most 120 b&w. The exception is the Rollei/Agfa Superpan family of emulsions, which need a much gentler slow developer. I suspect a glycin based formulation like Hubl Paste 1:40 might be best for these exotic, but beautiful films. I have Diafine in reserve for films I don't know anything about or if I don't have shooting notes for that roll.  

Rollei35's picture
Hi Leslie, I took your advice and started developing flim in D-76 stock, reusing the soup over and over again. I'm now 5 rolls into a one-liter bottle. It turns yellow after use but by the next time I use it, it clears up again. Anyhow, what is your experience, how many rolls approximately should I be able to develop with my 1 liter D-76 before I notice any decline? Thanks much! Axel
rwl7532's picture

After trying D76, then Rodinal and HC110 (really Freestyle's L110 Legacy Pro), I decided the next step was mixing my own D76 from the chemicals. 

Photographer's Formula shipped the ingredients and I measured using a digital scale (which happily now only cost peanuts). I only mixed up 250mL as an entire liter doesn't make much sense given that I'm mixing my own. 

The resulting D76 has given me the best looking negatives I've gotten.

Just a few additional chemicals to the four that make up D76, I'll be able to try many different recipes. The Darkroom Cookbook has many.  This is adding much satisfaction to an already satisfying hobby.


BathroomDarkroom's picture
Hi Leslie, Michael and Gang, Uncanny coincidence, but I'm just finishing a test roll of 5222 in Xtol 1:1, 10 min, as I'm listening to #126 talking about XTOL! A perfect ASA 250 as I expected. Thanks for your great show as always. As long as you're stocking developers from the Formulary, give BW65 a go. Its a 2-part liquid that I think gives a little better tonal range than my old Dektol standby from the 70's.. Check out my bathroom darkroom at BathroomDarkroom.com. You asked for darkroom photos and I never got around to posting any but they're on the site..

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