Film development chart
In the table below all temperatures are at 20°C/68°F and times are for 35mm and 120 film. Use the links under the notes column to see examples of my results. I refer to this chart if you want to use different temperatures.
|Adox CHS 100 ART||HC-110||dilution E||100 ISO||8:30 min||View|
|Adox CHS 100 ART||APH 09||1:150||100 ISO||2 hours||stand developed, 1gr borax, View|
|Adox CHS 100 ART||APH 09||1:167||200 ISO||2 hours||stand developed, 1gr borax, View|
|Adox CHS 100 ART||Rodinal||1:200||100 ISO||2 hours||stand developed, 1gr borax, View|
|Adox CHS 100 ART||Rodinal||1:200||160 ISO||2 hours||stand developed, 1gr borax, View|
|Adox CHS 100 II||HC-110||dilution E||100 ISO||9 min||View|
|Adox CHS 25 ART||APH 09||1:120||25 ISO||1 hour||stand developed, 1gr borax, View|
|Adox CHS 25 ART||Rodinal||1:150||25 ISO||1 hour||stand developed,View|
|Adox CHS 25 ART||HC-110||dilution E||25 ISO||10:30 min||View|
|Adox CHS 25 ART||APH 09||1:80||25 ISO||12 min||View|
|Adox CHS 25 ART||Rodinal||1:50||25 ISO||8:30 min||View|
|Adox CHS 25 ART||Rodinal||1:150||25 ISO||1 hour||stand developed, fogged, needed borax View|
|Adox CHS 25 ART||Rodinal||1:200||25 ISO||2 hours||stand developed, 1gr borax, View|
|Adox CHS 50 ART||Rodinal||1:100||50 ISO||18 min||View|
|Adox CHS 50 ART||Rodinal||1:50||40 ISO||9 min||View|
|Adox CHS 50 ART||APH 09||1:40||50 ISO||9 min||View|
|Adox CHS 50 ART||Rodinal||1:200||50 ISO||2 hours||stand developed, 1gr borax, View|
|Adox CHS 50 ART||HC-110||dilution B||50 ISO||7 min||View|
|Adox PAN 25||HC-110||dilution F||25 ISO||13:30 min||View|
|Adox Silvermax||HC-110||1+47 (dilution E)||100 ISO||10:30 min|
|Efke IR820 AURA||Rodinal||1:50||6 ISO||11 min||With Hoya R72 filter.View|
|Efke IR820||APH 09||1:40||100 ISO||11 min||With Hoya R72 filter.View|
|Foma Fomapan 100||APH 09||1:167||100 ISO||2 hours||View|
|Foma Fomapan 100||HC-110||dilution H||100 ISO||10 min||View|
|Foma Fomapan 200||HC-110||dilution H||200 ISO||7 min||View|
|Foma Fomapan 400||HC-110||dilution E||400 ISO||10:30 min||View|
|Foma Fomapan 400||HC-110||dilution B||1600 ISO||13 min||View|
|Fuji Neopan 100 Acros||HC-110||dilution G||100 ISO||32 min||View|
|Fuji Neopan 100 Acros||Rodinal||1:50||64 ISO||13 min||View|
|Fuji Neopan 100 Acros||Rodinal||1:50||100 ISO||13 min||View|
|Fuji Neopan 100 Acros||HC-110||dilution E||100 ISO||7 min||View|
|Fuji Neopan 100 Acros||HC-110||dilution H||80 ISO||9 min||View|
|Fuji Neopan 100 Acros||Caffenol-C-M||NA||100 ISO||11 min||View|
|Fuji Neopan 100 Acros||Caffenol-C-M||NA||200 ISO||11 min||Negatives under-exposed, no need to expose Acros at EI 200 for use with Caffenol, it should be fine at EI 100.
|Fuji Neopan 100 Acros||Rodinal||1:200||125 ISO||2 hours||stand developed, 1gr borax, View|
|Fuji Neopan 100 Acros||APH 09||1:80||100 ISO||19 min||View|
|Fuji Neopan 400||HC-110||dilution H||400 ISO||10 min||View|
|Fuji Neopan 400||HC-110||dilution E||800 ISO||11 min||View|
|Ilford FP4 Plus||Rodinal||1:200||160 ISO||2 hours||stand developed, 1gr borax, View|
|Ilford FP4 Plus||Rodinal||1:50||80 ISO||9 min||View|
|Ilford FP4 Plus||Rodinal||1:50||125 ISO||15 min||View|
|Ilford FP4 Plus||HC-110||dilution B||200 ISO||12 min||I am trying for a contrasty, film noir look; View|
|Ilford FP4 Plus||HC-110||dilution B||125 ISO||9 min||View|
|Ilford FP4 Plus||Rodinal||1:50||80 ISO||10 min||View|
|Ilford HP5 Plus||HC-110||dilution H||400 ISO||10 min||View|
|Ilford PAN-F Plus||HC-110||dilution E||50 ISO||5:30 min||View|
|Ilford PAN-F Plus||Rodinal||1:50||50 ISO||11 min||View|
|Ilford SFX 200||Rodinal||1:50||100 ISO||11 min||With Hoya R72 filter.View|
|Ilford SFX 200||Rodinal||1:50||200 ISO||10 min||With Ilford SFX200 filter. View|
|Ilford SFX 200||HC-110||dilution B||200 ISO||9 min||With Ilford SFX200 filter,
+4 stops (set ISO 12 on camera), View
|Kodak T-MAX 100||Rodinal||1:50||80 ISO||12 min||With Orange filterView|
|Kodak T-MAX 400||HC-110||dilution E||400 ISO||8:30 min||View|
|Kodak T-MAX 400||HC-110||dilution B||1600 ISO||7:30 min||View|
|Kodak TRI-X||HC-110||dilution H||400 ISO||11 min||View|
|Kodak TRI-X||APH 09||1:40||800 ISO||17 min||View|
|Kodak TRI-X||HC-110||dilution B||800 ISO||11 min||View|
|Kodak TRI-X||HC-110||dilution D||1600 ISO||17:30 min||View|
|Rollei Pan 25||Rodinal||1:100||25 ISO||1 hour||stand developed,View|
|Rollei Pan 25||HC-110||diliution G||25 ISO||22 min||View|
Disclaimer: Because of many different factors, the results I obtained can and will almost certainly differ from the results you will get if you use the same values. These factors include difference in the built-in lightmeter in the respective cameras, the type of metering used (spot or average,) how constant you can keep your temperatures, the contrast of the subject at the moment of shooting and, last but not least, the agitation used. Use the values above as a starting value only for your own explorations.
If you’re caught out without enough light to get the exposure that you want, etc., you could push the film, effectively underexposing it and correcting for the underexposure during development by developing longer. You would expose an ISO 100 film at ISO 200 (1 stop), or an ISO 400 film at ISO 800 (1 stop) or 1600 (2 stops) and typically you would change the ISO setting on your camera or lightmeter and just follow the lightmeter readings. When shooting 135 or 120/220 format film, pushing or pulling a film effects the whole film as not many people develop sections of the film differently. When pushing film, you can expect added contrast due to the fact that not all values are raised equally when extending the development time: the shadows stay where they are, underexposed, and only the highlights are raised. Depending on the scene it can be a desired effect.
Where pushing film underexposes film, pulling film goes the other way and overexposes the film and corrects for the overexposure by using a shorter development time during development. It is typically used to get less contrast in high-contrast environments.
I first read about stand development in a blog posting on Aminus3.com and quickly became interested. A good reference book is Iridescent Light which I would recommend if you want more information about different films and developers.
I usually use a 5 minutes pre-soak in water and agitate for 1 minute after pouring in the developer. Then I bang the tank on the table to dislodge airbubles and leave it to stand for the period I have decided upon. I use a 50 watt unbreakable aquarium heater and a Greisinger GTH 175/PT thermometer to control the temperature. For stand development I mix the developer with de-ionised battery water as it is much cheaper than distilled water and about as clean. To minimize fogging of the negatives, I have started mixing a little borax in with the developer. Borax would normally be sold as a cleaning product in supermarkets but might be difficult to find in an EU country as of 2010. If you cannot find it, it is still sold via photo stores.
When using Rodinal, unless I am stand developing, I start out with thirty seconds of gentle inversions, then 2 inversion per minute for the first 3 minutes, 2 seconds for each inversion, then 2 inversions every 3 minutes for the remaining time.
When using HC-110, I start out with for the first 3 minutes 2 inversions every 30 seconds, then 2 inversions every minute.
Download the film development information of this site in three different eBook formats for free: Kindle/MOBI, EPUB or PDF, new version 2011/02/19, these documents will be updated occasionally. I’m glad that I see this page and these documents recommended in the different film forums on the Internet by people who have received equally good results with the films I have described, keep film alive! If you would like to share the information of this page or the document with others, please refer them to this page instead of forwarding the file so people will always have the latest version.
At the moment Foma Fomapan is my favourite brand followed by Fuji because of the Neopan 100 Acros film. Click on the names to browse my blog by these film brands to see why. Things to look forward to in the first half of 2011: Landscape photography with Efke Infrared ‘AURA’ 120 roll on my Pentax 645NII, I already have the Hoya Infrared R72 Filter.
With long or very short exposures, the inverse relationship between light intensity and duration breaks down for most films. Some films only need a tiny correction, others do need a lot more. If you do not pay attention to Reciprocity failure and correct for it, you risk severely underexposing your negatives to your dismay for long exposures. Typically the film datasheets do cover Reciprocity failure to some extend, but you can find a great app for Android here.
Film datasheets B&W film
- Efke / Adox CHS 25 ART, see here.
- Efke / Adox CHS 50 ART, see here.
- Efke / Adox CHS 100 ART, see here.
- Efke / MACO IR820c and IR820c AURA, see here.
- Foma Fomapan 100 Classic, see here.
- Foma Fomapan 200 Creative, see here.
- Foma Fomapan 400 Action, see here.
- Foma Fomapan R 100, see here and here.
- Foma RETROPAN 320 soft, see here.
- Fuji Neopan 100 Acros, see here.
- Fuji Neopan 400, see here.
- Ilford FP4 Plus, see here.
- Ilford HP5 Plus, see here.
- Ilford PAN-F Plus, see here.
- Ilford SFX 200, see here.
- Rollei PAN 25, see here.
- Kodak TRI-X, see here.
- FERRANIA P30® ALPHA film, see here.
Film datasheets colour and slide film
- Fuji Fujichrome Velvia 50, see here.
- Fuji Fujichrome Velvia 100, see here.
- Fuji Fujichrome Velvia 100F, see here.
- Kodak Ektachrome 100D, see here.
- Kodak Ektar 100, see here.
- Kodak Gold 200, see here.
- Kodak Portra 160, see here.
- Kodak Portra 400, see here.
- Kodak Portra 800, see here.
Since I develop at most a few films a week, I prefer to use one shot developers, and the syrup based developers like AGFA Rodinal and Kodak HC-110 are perfect for my needs.