Shootout: Kodak TriX vs Ilford HP5+
I’ve long been a Kodak guy. TriX 400 for decades has been my go-to black and white film. When I wasn’t shooting TriX, I was shooting the gamut of other Kodak B&W films. Ilford is a legendary black and white film. When I first started in the film era, the “serious” black and white only photographers generally gravitated towards Ilford. Ilford film, Ilford developer, Ilford photo paper.
Ilford in general is the anti-kodak. While TriX has that harsh grainy contrast, Ilford tends to be softer, with finer grain and stronger mid-tones. Previously having shot some FP4+ at box speed in daylight, left me unimpressed. But for April’s Beer And Cameras, I was going to give HP5+ a direct head to head shootout against TriX, both being native 400 speed films.
I’ve long been a Kodak guy. TriX 400 for decades has been my go-to black and white film. When I wasn’t shooting TriX, I was shooting the gamut of other Kodak B&W films. Ilford is a legendary black and white film. When I first started in the film era, the “serious” black and white only photographers generally gravitated towards Ilford. Ilford film, Ilford developer, Ilford photo paper.
Ilford in general is the anti-kodak. While TriX has that harsh grainy contrast, Ilford tends to be softer, with finer grain and stronger mid-tones. Previously having shot some FP4+ at box speed in daylight, left me unimpressed. But for April’s Beer And Cameras, I was going to give HP5+ a direct head to head shootout against TriX, both being native 400 speed films.
The Shots
Left is HP5+, and right is TriX 400. Subject is something that used to be a big staple of my work. Classic cars. Both of these films 20th century Pedigrees. On the righ we can see that TriX has that hard contrast TriX is famous for. In this case it looks sharper, but you can see more detail with the HP5+. In post, we could probably edit the ilford, but likely just wind up like the TriX one. I personally like the TriX here. Looks sharper.
Next up is some Abstract wall art, paired with some sort of hose port. The TriX is more shadowy, and the contrast of the black and white wall art is the same between the two. The HP5+ has better detail of the foreground, and is much clearer here. Win for HP5+
Outside the Boomtown Brewery. Left is HP5+, Right is TriX. The extra contrast from the TriX gives more tones, and more details, and a bit sharper. The HP5+ has a more vintage look, which works great with the industrial looking tank out front of the building. The illusion is broke with the bubble-car style SUVs on the right. Either case, both are fine. I lean to the TriX here, but you could argue for either
Up next is another favorite subject of mine: Dark stuff. Meter the light source, so we have an overall dark, moody and shadowy scene. Usually these require post processing. But lets compare the unedited photos first. HP5+ on the left, TriX on the right. HP5+ has more detail, but TriX 400 gets more shadow. Neither are publishable as is, but lets see what happens when we apply contrast. Does the extra detail of the HP5 get preserved?
I think still in the miss pile, if due to lack of real subject, but we can get a better view. TriX seems to have better details with highlights, especially look at the couch in the foreground, but the background, HP5 comes out on top. Either case, really a wash
Up next we have some architecture and lines. Left is HP5+, and right is TriX. Here you can really tell the difference between films. Both, are equally good. We have the top right element of the building is a solid mid grey on the HP5+ and a light shade of black on the TriX. The harder contrast of the TriX produces darker more aggressive shades of grey. the HP5+ is greyer and more comforting. They are both equally as sharp, and equally as appealing, very much a presence here. This one is a draw, they are both really good
Up next is some street art. Someone stenciled some "Black Lives Matter" graffiti on the sidewalk. Combination of spray paint on concrete gives a very stark, bold, statement-oriented piece. HP5+ on the left, TriX on the right. The TriX is harder contrast and thus, the gives the monolithic piece some pop to it. The HP5+ has much more detail of the concrete. Both are acceptable. Both are good.
HP5+ on the left, TriX on the right, again. We now move from street to high art in a near by gallery. We can see how both handle abstracts such as lines. For the lines themselves, its about the same. For the sides with the columns, we can see some more contrast with the TriX giving it a slight leg up, but either would be acceptable
For the last two we have some people shots. This is Adam, who runs LA Film lab, and Beer and Cameras LA. Left is HP5+ and right is TriX. I think he's a little more clear with the HP5+, so giving this a win for the HP5+ getting people, especially in shade or shadowy conditions.
Last is the Beer and Cameras meetup. You have a good variation in skin tones here, so its a good test of shooting people of various races. HP5+(left) dealing with mid-tones better makes it a clear winner for dealing with people.
Conclusion
Each film is going to have diffrent strengths depending on subject and lighting conditions. TriX works better for objects and stark urbanscapes. Especially makes the image look sharper where hi-contrast is needed. For shooting mixed light, and people, HP5+ wins.
Rules Of Street Photography
I don’t think there are any real rules of street photography. Many post similar, slightly different variations, of a photographers “do no harm” philosophy, but there is no consensus on any of it, and many historical street photographers blatantly didn’t follow it. Weegee shot corpses, drunks and bums. Bruce Gilden is quoted on camera as having no morals. There is the laws on what you can and cannot take pictures, but even that isn’t followed. But none-the-less, everyone has their own code. I thought I’d preface with that, before you think that there is some cosmic force that will damn you for eternity for following this, and this is just my take, and how I shoot.
I don’t think there are any real rules of street photography. Many post similar, slightly different variations, of a photographers “do no harm” philosophy, but there is no consensus on any of it, and many historical street photographers blatantly didn’t follow it. Weegee shot corpses, drunks and bums. There is the laws on what you can and cannot take pictures, but even that isn’t followed. But none-the-less, everyone has their own code. I thought I’d preface with that, before you think that there is some cosmic force that will damn you for eternity for following this, and this is just my take, and how I shoot.
Jack’s Rules For Street Photography
Rule 1 - Carry business cards
First rule of street photography: “carry business cards”. Make sure you have as much of these as you do film. Mine are super fancy because I can afford, but don’t feel shame in having a more basic card. Hand these out to people you shoot, people who ask, people who even look remotely interested in what you are doing. Hand them out liberally. Make sure you keep these stocked. Make sure you have them somewhere, where its easy to grab and hand out.
The business card has a few functions. First, is to sooth any fears people might have of someone just walking around with a camera taking pictures. Its one thing to explain you are an artist, its another to prove it. This is fairly good at getting you out of trouble with property owners, would be assailants, and paranoid people who’s first inkling is you are up to no good, either as Law Enforcement or some sort of creep. Second, is to give an avenue of contact for people in your photos in case they have any questions, concerns or want their photo taken down. Third, promote yourself, sell your artwork, give contact info to would be clients, get your name out there.
So what goes on a business card? Name, or alias you do photography as, somewhere your work can be seen such as a website, flickr, or instagram account, contact info you feel comfortable sharing with the public, and a good representative piece of your work. For me, that contact is an email, blurred out for the internet because spam reasons, but you can very much get the email by running into me IRL and getting a card. The picture on the background is “Amsterdam Billiards and Ball”, the only work of mine that currently hangs on my own wall, and has long been used to represent my work. Card in picture is the old one with my Flickr and Instagram account. The new ones have a linktr.ee, and the batch after this will have this website.
And always: Leave the back side blank white so you can write on it. Either your own notes or give to someone else, and bring a pen
Rule 2 - If The Subject Says Take It Down, Take It Down
The law states that any picture taken in a place where there is no reasonable expectation of privacy is legal. That said, there is no obligation to go right up against the edge of the law, and against rules of taste. I’m not a creep or the paparazzi, so if someone decides they don’t want their picture being used, it doesn’t. This could be as the photo is being taken. This could be after its published or years later. The subject could agree and just not like how the photo came out.
As I hand out business cards, you can contact me via email or various social media on the card, for takedown requests.
Exception: If the picture is part of a newsworthy event, and the picture is being sold to a reputable publication. Reputable meaning non-tabloid, non-gossip column. Public right to know outweighs personal privacy.
Rule 3 - Observe, Don’t Interfere
This is everything from don’t get too far into people’s business, or any further than you need to get the shot, don’t wreck an urbex site, if there is a fight or conflict, do your best to as neutral as the Swiss. There are going to be exceptions to this, if someone needs medical attention, or genuine help.
Rule 4 - Portray Things in Context As They Are
Don’t frame a photo or shot to be misleading of what is actually going on. Abstracts of portraying nothing really at all are fine.
Rule 5 - Get Lost And Be Found
Step off the beaten trail. Buy the ticket, take the ride. Follow the white rabbit. Take the side quest. Discovering something down a back alley and wandering off with a camera is a good way to find scenes and photos usually not observed. Get lost with your imagination, and find photos not otherwise taken.
Rule 6 - No Asses, Backs Of Heads
Do not capture a subject with both ass(buttocks) and back of head. They are completely turned away from you, and you got no expression of what they are doing, and could be bordering on creeper shot. If you have multiple subjects in a photo, at least one face and front.
If you absolutely need to take a picture of an ass, the subject needs to turn their head so at least part of their face is on the camera. If for whatever reason they are unable or unwilling to do this, please re-assess what you are doing.
Rule 7 - Don’t Abuse Artistic Privilege
Society, especially Los Angeles has let you bend certain rules if you make quality art. Don’t abuse this. Don’t be a creep. Don’t take non-consensual nudes. No erotic shots of unsuspecting victims. No gratuitous shots of bums, corpses, and disadvantaged people that isn’t part of larger story telling. Don’t violate people’s privacy…too much. No non-consensual pornography. Its not possible to be a street photographer without being a little weird. Don’t push this too hard, and don’t abuse it.