Ilford HP5+ Film Profile Updated

I’ve updated the Ilford HP5+ film review and moved it to its own tech page along with all the other films I’ve generated tech pages for.

Just as a reminder, if you want to use Simple Film Lab to get your film processed and scanned, please consult the published tech sheets so that you’ll know what to expect for results.

Next Up: JCH Streetpan 400

Ilford FP4+ Film Review Published

Just a quick note, I’ve completed and published the tech sheet for Ilford FP4+ Film.

If you send your film in to Simple Film Lab, you can now see what you’ll get if you shoot Ilford FP4+ film and send it in to us to process and scan in. Check the review out here. I’ve included a characteristic curve, a slideshow of sample images, and downloadable sample Adobe Digital Negatives of what you could get if your film was handled by us.


Updated Film Tech Sheets

Just a quick update:

Kodak T-MAX 100, T-MAX 400, and TRI-X tech sheets have been updated to reflect development with replenished Kodak XTOL developer with Rotary agitation at 24 degrees C and scanning at 0.56 Contrast Index.

The tech sheets are located at:

I’ll be uploading new sample images and making sample DNG files available over the next few days. Any film sent in to Simple Film Lab will be developed as described in the tech sheet unless requested otherwise on the development order form.

If there’s any specific films anybody would like to see tech sheets generated for, please let me know and I’ll bump it up in the queue of films to do.


2018 Changes For Simple Film Lab

2018 is going to be a great year!

We’ve updated or are in the process of updating the pages for Simple Film Lab and the new updated order form should be online and available within the next couple of days.

Here are the highlights:


We’ve introduced a new standardized film development regime based on XTOL and standardized our scanning protocol so that film you send in to us can easily be either printed onto photo sensitive paper in a darkroom, or can be scanned in using standard contrast indexes that correlate to black and white paper grades. This makes things much simpler and leads to other things listed below.

All Black and White Negative Films

We can now develop and scan in all commonly available black and white negative films in 135, 120, and 4×5 sheet formats, so send them in and get them processed! This is huge for us and we couldn’t have been able to realistically do it without standardizing our development environment.

Custom Film Development

Yep, we do that too. In addition to XTOL, you can request that your film be developed with D76, HC110, and Rodinal with custom dilutions, development temperatures, development agitation scheme, and development times. You can pretty much go nuts, though be aware that doing so can lead to unpredictable results.

Custom Film Scanning

Want your film scanned in with the equivalent of a grade 3 paper instead of the standard grade 2? No problem. We have a range of available contrast indexes that you can have your film scanned in at. It’s the digital equivalent of printing on said paper in the darkroom except you get a Digital Negative file instead. Combined with custom film development and you can get really creative if you want to.

Other File Formats

Don’t like Digital Negatives? No Problem. You can now request other formats without actually going the custom scan route.

There’s more than this, so check the Lab pages as we’ll be getting those pages updated with whats going on for 2018!

The Myth of Film Push Processing

“I shot it at 1600 and pushed it 2 stops! It looks great!”

I’m sure we’ve all heard this. It’s largely a myth. All films are within a third of a stop of the manufacturer’s published ISO rating in most developers.

This is extremely true of C-41 color films because the processing is standardized and the films are manufactured to conform to that processing environment. Given that, we’re not going to talk about color films. If it’s rated for ISO 100, shoot it at 100. If it’s a 400 speed film, shoot it at 400. Any lab that is worth anything can give you a wonderful scan of that film.

For black and white films, this is also largely true based on how the ISO standard prescribes determining the speed of the film which is explained very simply:

Film speeds are based on the exposure required to give a log density of 0.10 above film base plus fog (fb+f).

Keeping it simple

Terminology aside, we can say the speed of the film is determined by the amount of exposure needed to get a certain fixed amount of density above film base plus fog. For the ISO standard, that fixed density is 0.10 log density above film base plus fog. You can use a different fixed density level and you can use a different density scale and that’s totally valid except that it’s not to the ISO standard.

Where the confusion comes in is film density in the shadows or minimum density areas of the emulsion develops at different rates depending on the film developer used. The developer used along with developer temperature and time spent developing affects how much density is developed.

Push that film!

Not so fast. You see, depending on the size of the silver grains in the emulsion, you do in fact need a minimum amount of light to hit each grain so that it will develop anything at all. Believe it or not, that minimum amount of light is amazingly close to the ISO rating of the film.

So what does push processing actually do?

Simply put, push processing develops more density for the silver crystals that did get enough light to develop anything. What this does is make the density difference large enough that you can see it and gives the impression that the film is more sensitive than it actually is. In Adobe Lightroom speak, it’s the equivalent of going into the Develop Module and pulling the shadows up without changing the black level.

It does not make the film more sensitive. Once you go below that minimum exposure level, no amount of processing is going to bring more density into the emulsion. All you’ll do is develop more film fog.

So how come some films still look great pushed?

That’s because normally exposed and developed film typically has its film base plus fog at 6 stops below middle grey. That makes for some awesome blacks. If you switched over to the Exposure Index method of exposing, and under exposed the film by a stop, the film base plus fog effectively moves up by one stop to 5 stops below middle grey. This still results in totally acceptable blacks for most exposures. If you under expose by 2 stops (exposing a 400 speed film at EI 1600) the film base plus fog moves up to 4 stops below middle grey. This results in your blacks starting to look dark grey and a little muddy. This is where the push processing come in. More development time adds more density to what shadows you do have which makes the shadow areas have more contrast which to a degree counteracts the raised film base plus fog. There is a point of diminishing returns because once again, there is a minimum amount of light you need in order to develop anything above film base plus fog.

So that’s it in a nutshell. Pushing film is a myth. If you switch to a different exposure standard (like Exposure Index), then you can get a little more performance out of your film, but at the end of the day, the worst thing you can do is under expose your film.

Film Review: Lomography Lady Grey 400 B&W Film Profile


Today, we’re going to take a look at Lomography Lady Grey 400 Film, or LOMO_BW_400. This is a high speed B&W film that comes in 35mm roll, and 120 roll. Lomography repackages emulsions from other manufacturers to sell as their own, and research on the internet shows that at one point LOMO_BW_400 was Kodak’s 400TMY2, however, as of mid-late 2017, the emulsion is the same emulsion as Foma’s Fomapan 400. In addition to Fomapan 400, this film is also repackaged as Arista.EDU Ultra 400. This review will serve as a review for all three films as they’re the same emulsion.


There are many ways to develop LOMO_BW_400. If you send your film in here to Simple Film Lab, we develop LOMO_BW_400 with Kodak D-76 mixed at 1:1 for one-shot usage. The development time is 10:00 at 68 degrees Fahrenheit in a Paterson daylight tank with 1 inversion every 15 seconds. We use a 1:4 water:vinegar stop bath between development and fixing. We fix all BW films in Kodak Fixer.

Characteristic Curve

Using Simple Film Lab, here’s the characteristic curve for LOMO_BW_400:


The scale along the bottom is exposure EVs, the scale along the left is the measured density as seen by the film scanner. The EV 0 mark is an 18% exposure card exposed correctly via an incident light reading via a Sekonic light meter through a T-Stop rated lens. Every dot along the curve is a full stop of light. As a safety measure, I’ve extended the curve by a couple of stops on both sides of the scale to account for variances in development and scanning, though the film, development process, and scanner is generally very consistent.

Exposure Guidance and Dynamic Range/Exposure Latitude

LOMO_BW_400 has a good amount of dynamic range, though by my estimate, it’s barely a 400 speed film, at least in D-76. You can safely shoot it at ISO 100-400 using the development process described above. The film base plus fog starts to happen most of the way through EV -4 and is fully clear film base by the time we hit EV -6. On the highlight side, it stops getting denser most of the way through EV +10 and doesn’t quite make it to EV +11. This gives a dynamic range of -5 to +10 EVs as a worst case.

For exposure guidance, if developing this film as described above, or if sending it in to be developed by Simple Film Lab, I recommend taking an incident light reading of the darkest part of the scene you want to retain details in and subtracting two stops of exposure from that reading. For example, if the darkest part of the scene that you want to retain detail in reads 1/125 shutter, f/4.0 at ISO 400, either set the shutter to 1/500 or close down the aperture to f/8.0, or a combination of the two to reduce the exposure by two stops.

If you don’t have a light meter, then set your camera exposure compensation to +1 stop, and that will generally result in an acceptable exposure for most situations once scanned in and density corrected.

If you want to add an additional stop of light to the shadows and push the blacks down so that they’re blacker, then you can subtract one stop from the darkest part of the scene you want to capture detail in instead of two stops. LOMO_BW_400 has enough over exposure latitude that this will still result in a good image once scanned in and density corrected for all but the highest contrast scenes.

With that being said, having good blacks requires that the film base plus fog not start to happen until EV -5 at least, so if you want that while shooting this film, then treat it like a 200 speed film and you won’t be disappointed. If you want that dreamy old time film look, then by all means, shoot it at ISO 400 or ISO 800, which will really accentuate the film fog in the blacks.


LOMO_BW_400 has OK resolution for a 400 speed film. Lomography doesn’t publish a spec sheet for it, but Fomapan does for Fomapan 400. At 50% contrast, Fomapan 400 is about 25 line-pairs per mm of film. Putting a 135 format frame up side to side next to 400TX in Adobe Lightroom at 1:1 viewing shows that it doesn’t look to have as much spatial resolution as 400TX (both frames shot through a Sigma 35mm ART prime lens, it’s a really sharp lens). I’d rank it as ever so slightly on the softer side of middle of the road for resolution.

In terms of grain, it’s in 400TX territory as far as grain size is concerned, though 400TX grain is a bit smoother and more pleasant looking than the grain of LOMO_BW_400. In short, in 135 format, the grain is very present but not obnoxious. In medium format 120 roll, it’s significantly less visible but still there. Overall, it has a very film look to it and is quite pleasant.

I personally don’t shoot a lot of LOMO_BW_400 as it’s better suited to candids or street photography and most of what I shoot is studio work with strobes where I go for maximum resolution and/or shoot in 4×5 large format.

Sample Images

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Here’s a link to a Flickr Album of more images shot on Lomography Lady Grey, Fomapan 400, and Arista.EDU 400. I’ll add more images as I have them available.