Kodak T-Max 400 doesn’t get all the love, love letters, and overall adoration that Kodak Tri-X 400 does simply because of the fact that a ton of the most iconic photos in the world were shot on Tri-X 400 vs T-Max 400. However, part of that has to do with the fact that Tri-X has been around for a longer period of time and T-Max 400 is designed to do something much different. While Tri-X 400 is known for its characteristic midtones and grain, T-Max 400 is instead known for its fairly high contrast (in the highlights and shadows), its incredibly fine grain and its overall sharpness. It’s touted to be the sharpest black and white 400 speed film in the world. Indeed, there has been a movement in the black and white photography world towards the high contrast, crispy, sharp look. And that’s essentially what Kodak T-Max 400 can do while still retaining a fair amount of details in the midtones. It does it in a much different way from a film like Japan Camera Hunter Street Pan 400–which is a near infrared film. Yet it also differs from many of the Ilford emulsions.Before you go on, more of the specific technical details of using Kodak T-Max 400 can be found in this Kodak PDF file.
EDITOR’S NOTE: We’ve added updates to this article.
Today, Fujifilm officially announced that after 2019, Fujifilm Acros 100 4×5 cut sheet film will no longer be in production. This statement is currently being applied only to the 4×5 cut sheet film and it is currently unclear if it will apply to the 35mm and 120 emulsion offerings, but we will confirm this in the morning. Fujifilm Acros 100 is a very interesting black and white film in that it offers a very fine grain but also is very versatile. As we’ve mentioned many times in this month’s coverage on La Noir Image, it can be pushed to 1600 with great results. We also did a review of Fujifilm Acros 100 earlier this month right here.
All images by Alex Teltevskiy. Used with permission.
Alex Teltevskiy is a photographer whose mind works with a bit of eccentricity. He loves photography and has loved film since starting in it. But then he went digital and fell back in love with film. He experiments with various films, looks and cameras. His passion is driven by a load of things, and like more film photographers should, he understands how to get the looks that suit his creative vision.
All images by Troyce Hoffman. Used with permission.
“While Europe has thousands of years worth of ancient cities and temples, America has its great canyons, mountains, forests, and deserts; these are our great wonders,” says northern California based Photographer Troyce Hoffman. “They are the great equalizer in our country; they belong to both rich and poor serving as a vast communal backyard.” Troyce’s images are mostly shot in the public lands of the American West and he has worked to capture images of the American West using Kodak Tri-x for a while now.
All images by Rikard Landberg. Used with permission.
Photographer Rikard Landberg has been featured on the Phoblographer before for the humor he finds in street photography. He applied to be featured in our upcoming analog zine and we felt his work to be good enough to feature here on the website. So here’s his story.
In a turn of news that I really wish I didn’t have to report, Kodak’s stock isn’t doing so well at the moment. Last year around this time it was pretty low; and then it started to climb up again and remained fairly high. Around the holidays it stayed strong and then back in January when they announced Ektachrome around CES it became strong again. But since then, apparently things haven’t been going so well.
All images by Jeb Inge. Used with permission.
There are a ton of photographers out there who started in film, then went digital, and eventually went back to film: and Jeb Inge is one of those shooters. This year he took the big leap and sold all of his digital equipment. His best work is landscape photography, but Jeb genuinely enjoys the documentation process of finding wonderful things in the world and capturing their essence. Jeb applied to be featured in our analog zine, and his work is wonderful enough to share here.
For a fairly long time now, I’ve ditched Lightroom for Capture One and I couldn’t be happier. But something I’ve missed is having film profiles for my images–if not because they didn’t necessarily look like film, because I just genuinely liked the look of the photos. Then I discovered the Capture One Styles, that makes the Capture One Film styles which emulate the look of lots of very popular film emulsions.
Considering just how good Capture One is, I was very delighted to test these out. But for this film shooter, I found some disappointment.