In the camera, the difference would be that HP5 will allow you to shoot in lower light situations. FP4 needs brighter light. In printing, either can be lighter or darker, depending on the exposure time of the printing paper. Both are sharp. The main difference that you will see is grain size. HP5 is a much grainer film, and the larger you try to make your print, the more it will show. If you need a big enlargement of your negative, it is best to use a finer grain film, like FP4.
Unless, of course, you want a real grainy look, then use HP5 and go big. FP4 is a slower film iso where as HP5 is iso Meaning it requires more light to get an image. FP4 is asa fine grain emulsion, HP5 is asa not so fine grain emulsion. Is one darker than the other? Is on sharper than the other? Any info would be great :. Answer Save. For example, HP5 is very good as an every day film where as FP4 is better for brighter days.
What do you think of the answers? You can sign in to give your opinion on the answer. Still have questions? Get answers by asking now.I was expecting a very fine grain, and high amount of accutance but was slightly disappointed. The highlighting and gradient effect you expect from stand development still blew me away. In the highlights the grain was fine, but the midtones and shadow areas gave medium grain that one would find in pushed film.
With all this said, when looking at a magnifier, these were the sharpest negatives I had ever seen. The quirkiness of the results will make me think twice before using it as a film for landscapes, but the detail I got from the close up shots with bokeh make me see the potential for portraits.
This shot is exceedingly sharp thanks to the lens, and stand development process. However, the grain prevails everywhere. I am a fan of grain, but also understand the need for fine or undetectable grain for portraits. You can see the fine detail and sharpness, but the bokeh area has a bit of grain. This is a photo of a very popular spot for photographers, Sutro Baths in San Francisco. There were at least 2 couple photography sessions happening while I was here.
I was surprised by the amount of grain, too. I am not sure I would buy this film again. Thanks for your feedback! That is exactly why I use Rodinal, for the grain. What do you think is best for your kind of landscapes? Your email address will not be published. This site uses Akismet to reduce spam. Learn how your comment data is processed.
Join the Conversation. Leave a comment Cancel reply Your email address will not be published.We have learned the unique qualities that each type of black and white film possess and how they can impact the emotion in a photograph.
Black and white films can evoke the feeling of the scene, whether it be joy or sadness, the serenity or the drama, a happy timeless memory or an evocative powerful moment. Whether its a portrait, a wedding, a landscape, sports, or a shot captured during your travels, black and white films capture the essence and emotion of the moment.
When you photograph people in black and white, you photograph their souls. For this reason, we acknowledge the soft spot we have for Ilford. Founded inIlford became a staple to the world of black and white films as we know it. It has a faithful following of which we are apart of! Delta and HP5 are two films with the same ISO sensitivity but with vast differences between them. What precisely are those differences?
HP5 is a film with a great history behind it. It was born originally being called just HP but has evolved into what we know today as HP5. With a little more than 70 years of existence under its belt, HP5 has become the most shot black and white film in Europe and is one we see frequently in our lab!
The full name of HP5 is Hypersensitive Panchromatic and its latest version was launched in Unique with its cubic grain and its wide latitude of exposure, it quickly became a favorite to those who were lovers of classical photography and its look.
Typical ISO black and white films are pleasantly surprising due to their exposure of latitude and their ability to retain the information in the highlights and with HP5 that is no exception. We bracketed HP5, changing only the exposure settings, and we were delighted at how well HP5 plays!
It retained the information and detail in the highlights, even at 4 stops overexposure! We found that it shines best, in regards to dynamic range, when it is overexposed by one stop. This 1 stop overexposure is the perfect mixture; there is a perfect balance between shadows and highlights.
This is one of our favorite films when it comes to rating it at, and even ISO. When you rate like such, the images render with a bit more intense blacks and whites and with a good deal more grain. These results can really make the image pop! And while yes, this look does bring forth more grain, and a more cubic sort of grain at that see imageand a loss of sharpness, we feel that this highlights the artistic taste of the image with the powerful tones of black and white.
If you shoot HP5 intending to shoot it at box speed which isbut you realize you rated it atno sweat. And if that bothers you, take a deep breath, cause, again, HP5 can do some more heavy lifting.
We can work on the negative in post to adjust the contrast to your liking. This film because of its contrast is ideal for sunny and warm summer days. Take a peek at the bracketed HP5 images we provided; these were taken right off the scanner and you can easily imagine how much more can be tweaked to an image simply by adjusting the curve or adding more contrast in post.
Summing up, HP5 gives a gritty, grainy intense atmosphere to your images and the characteristic high contrast and deep shadow rendition can sometime mean that some fine detail can lost in the emulsion. You must be wondering, after everything we mentioned with HP5, why would we bother convincing you to consider getting involved with another black and white film? That saying applies here.
It all depends on you, the artist.Remember Me? Last Jump to page: Results 11 to 20 of Thread: FP4 vs HP5- when to use one over the other? Re: FP4 vs HP5- when to use one over the other? I have used both films in both 4x5 and 8x10 formats. I prefer HP5 in the larger camera because of the extra speed and exquisite edge effect; but it starts getting a little mushy-looking with 4x5 or potentially grainy if you use certain developers.
Both films have a moderate toe but less than Delta films, and have better acutance than Delta. Since you have 5x7 in mind, both films are tempting. Lately I've been carrying both films around with the the 8X10, since each has its advantages. I develop in Pyro. First let me say that I believe strongly in one film one developer, learn them and stick with them. That said, the two films you mention have distinctively different profiles characteristics I have both films but considerably more FP than HP5.
Very basically, the FP 4 has much more "built in contrast" shorter toe and sharper rise to the straight line. While the HP5 has a longer toe and longer shoulder, in other words the HP5 is capable of handling more contrasty scenes than the FP4.
If your concerns lie solely in film speed than we are decidedly photographers and therefore my preferences will not matter.
Real photographs are born wet! Therefore, it adds contrast to a flatly lit scene fog, or overcast conditions. However, has a lower sensitivity to light. Therefore, it reduces the contrast to a harshly lit scene outdoors in bright sunlight.
However, it has an increased sensitivity to light. What Steve mentioned reminded me of another functional distinction.
Kodak Tri-X vs Ilford HP5+ Film
When you have the shorter toe of FP4 you get better separation of shadow details, PROVIDED your exposure is sufficient to boost the shadow values onto the straighter section of the characteristic curve.
With HP5 you have better odds getting "something" in the shadows with an exposure that is a bit off, but it won't be well distinguished. The longer toe tends to lump shadows together. I don't really like either film for extreme lighting ratios, where a true straight-line film can do a better job.
Overexposing this film will blow out the highlights, unless you develop with certain secret elixirs or print using a silver contrast mask. Of course, you can always do N-1 development or something equivalent, but then you lose that wonderful internal contrast and excellent edge effect which these films are prized for. Thanks everybody for your responses. I never really seriously considered dropping FP4 entirely but was curious if HP5 could cover the majority of its application.
Like I said previously and Gem reiterated, The low light scenes where you need the speed of HP5 don't seem to be its best application, so I wonder how to approach those situations- stick with FP4 and just use the longer shutter speeds like I have already been doing? Steve- I'm glad you chimed in, as you've really helped me in the past. I'm wondering if semistand is the way to go with HP5 or just stick to Sandy King's recommendation of tray processing for this film. I've used both of these films for many years in 14x17 and other sizes.
In a nutshell, I use FP4 for soft light and HP5 for contrasty light assuming other factors like shutter speed aren't important. Kerik Kouklis www. Kerik - you are no doubt contact printing?
With enlargement the equation might change, as it's easy to blow out the highlights with HP5, unless one knows some advanced dev or printing techniques like masking. Contrary to some of the stereotypes above, I find HP5 at its best in softer lit situations, because when you apply expanded plus dev you also get the best internal contrast and edge effect.
But this is quite a versatile film if you spend the time to learn its options.Looking for a medium speed black and white film with buckets of character and great, deep contrast at moderate box speed? What I do know is that shooting FP4 PLUS gives me such immense pleasure that after discovering and shooting my first roll of this emulsion a few years ago, I promptly went out and grabbed a fresh 35mm ft reel so that I could bulk load my own.
As with all black and white film, development is hugely important when trying to control, or manage grain. The most valuable advice I can give when developing this film is to control your temperature. Keep your chemicals down at around 23 degrees C, minimise your agitations and make sure you give it a good soak before you get started. Both the grain and the way the newer film is laid down are rather different. That said, I find the resulting images from both stocks can be quite similar.
If you want supreme sharpness with great contrast, go with Delta. If you want to see how it performs close to its extreme 6-stop limit, have a look below at a few images shot at EI 35mm. I mostly shoot it in 35mm and will happily overcook it in development to serve my own high-contrast fetish.
Of course, this is just my own personal view. More so than most black and white films, your input in development will define the results, so play around and see what works for you. In short:. Wonderful grain, excellent tonal gradation, excellent sharpness on the one hand; fat grain, blocked out shadows and supreme contrast on the other. You can support this goal by contributing your thoughts, work, experiences and ideas to inspire the hundreds of thousands of people who read these pages each month.
Check out the submission guide here. If you like what you're reading you can also help this personal passion project by heading on over to the EMULSIVE Patreon page and giving as little as a dollar a month. There's also print and apparel over at Society 6currently showcasing over two dozen t-shirt designs and over a dozen unique photographs available for purchase. I would be able to average one frame per day and have a few spare for really special […]. Black and white negative film in 35mm format.Read Part 9 here.
For example ever since I saw this photo Hamish made I want the Zeiss Hologon 16mm lens read his review here :. A similar thing can happen with film, one photo can sway your mind towards one film type or brand, even though the photographer, lens, developer and scanning all are part of the result. But the mind works in mysterious ways, and emotions have their own logic.
But I love the glow. I have been going over this many times, and I keep coming back to this photo. Back to the beginning: as a starting film photographer you have to figure out which film to use. There is a technical way to approach this. Different development times will give different results though. But the technical approach, how interesting it may be, is not what is going to make the heart sing, at least not mine.
So I am looking at results. A typical Anton Corbijn portrait:. Both images have their own characteristics, and I really like them both. So far it is difficult to pick a favourite.
As inspiring as both photos may be, in the end it is about what I can achieve with the film. So I have been comparing some of my own results, in similar circumstances. This makes it totally unfair, but again, emotions are not fair! I like them both, I guess the second one is sharper due to the modern lens, but the result is almost too decent, too pretty.
The first one seem to connect with me more, but that could be the light instead of the film. In this case I clearly prefer the first one, the film seems to add to the different textures in the image.
In the previous results you could say that the subjects played a role in that, so I include a pretty one here too. However, I realised that for pretty photos I prefer color. Due to some coincidence I saw one sitting on a shelve at the repair shop I bought a Rollei 35 S. My plan with this camera is to practise shooting portraits of people that I do or do not know.
I think the charming character of this really small camera will help me to do that, as it is less intimidating, and it might be a conversation starter. With that in mind, Tri-X seems to make more sense. Inspired by Anton Corbijn and by the nature of this camera I intend to focus on the character of the photo, and not on sharpness or neatness. Tri-X seems to be the perfect match for that.
what are the differances between Ilford FP4 and Ilford HP5 film?
At least that is the plan for now Could the glow be explained by the characteristic curve? The biggest lesson learned here for me is that in trying to pick a favourite I have to look at how and where I want to use it. But when I had a plan of what I wanted to photograph it became clear. Pretty straightforward for most of you probably, as it is for me in hindsight….
Read Part 11 of journey into film here. The more people chuck me a small amount of cash each month, the more time I can spend building and improving upon it - simple as that! Become a Patron! Alternatively, if you just enjoyed this post, or like the odd post here and there, please feel free to chuck a few pennies in the tip jar via Ko fi here:.Black and white also dubbed monochrome film is special in that, aside from its aesthetic and nostalgic qualities, there is a wide margin of customization possible in the developing stage.
Because C and E-6 i. You can request special processing or you can even process your own film at home! Remember: at the end of the day, film quality—image quality as a concept in general—is a subjective measure.
None of the films listed here are necessarily better or worse than any other. They all provide different tonalities and grain structures, which must be evaluated by the beholder.
Beyond inherent qualities of a film, the way a film is developed and the way it is scanned both may impart different qualities to a digital image.
David Whitehall via Creative Commons. This is the film for the sharpness fanatic. Daniele Faieta via Creative Commons. In terms of real-world results, modern T-Max is nearly as sharp as T-Max but two stops more sensitive to light. Gadzhi Kharkharov via Creative Commons.
T-Max P is actually nominally ISObut is meant to be pushed to or even higher see below. This film is not as finely-grained as T-Max orbut provides a level of sensitivity that allows photos that would not be possible on a lower-speed film, like scenes in a dimly-lit restaurant or action shots. Kodak may release a medium format version of the film, depending on the success of the rerelease of the 35mm version.
For studio photography or images without movement, a low-sensitivity film is the way to go. Christopher Adams via Creative Commons. This film is technically ISObut meant to be pushed—or pulled. Vadim Timoshkin via Creative Commons. With more inherent contrast, Tri-X is popular for documentary and street photography. Jelle via Creative Commons. Jim via Creative Commons. HP5 Plus is one of the most popular films for students.
Antony Shepherd via Creative Commons.