What this covers: A practical guide to choosing the right black and white film — matched to light conditions, subject matter, and the kind of image you want to make. Covers every stock reviewed on this site, with a full comparison table, conditions guide, and recommendations by use case.
Films covered: Ilford Pan F Plus 50, Rollei Ortho 25, Ilford FP4 Plus 125, Kentmere Pan 100, Ilford HP5 Plus 400, Kodak Tri-X 400, Kentmere Pan 400, Fomapan 100/200/400, Lucky SHD 400, Lomography Lady Grey 400, Potsdam Kino 100.
Formats: 35mm and 120 medium format. Developer used throughout: Rodinal.
I loaded a roll of Ilford Pan F Plus into the Bronica ETRSi on an overcast November morning along the Kennet and Avon Canal at Aldermaston Wharf — and learned something I should already have known. Pan F is a remarkable film. It is also the wrong film for a flat, grey English winter’s day when the light has no contrast to give you and the sky sits like a sheet of white paper above the water.
The negatives were technically correct. They were also flat, lifeless, and lacking in everything that makes the canal worth photographing in the first place. The film had done its job; I had not done mine. I had loaded the wrong tool for the conditions, and no amount of careful development was going to recover what the light had not put there in the first place.
That experience is where this guide begins. Choosing the right film is not complicated, but it requires understanding what each stock actually does — not just its ISO rating, but its character, its strengths, and the conditions under which those strengths become limitations.
Kennet and Avon Canal, Aldermaston Wharf — the location that taught a lesson in film matching. Flat winter light and a slow fine-grain film make uncomfortable companions.
ISO Speed — The Starting Point
The ISO rating of a film is the most important single variable in choosing the right stock for a given situation. It determines how much light the film needs to make a correctly exposed negative, which in turn determines whether you can handhold the camera, how much depth of field you have available, and whether the shutter speed is fast enough to stop movement in the scene.
But ISO speed also determines grain. Faster films — ISO 400 and above — have larger silver halide crystals in the emulsion, which makes them more sensitive to light and produces more visible grain. Slower films have finer crystals, less grain, and require more light. This is not a defect in fast films or a virtue in slow ones; it is simply a different tool for a different purpose.
The practical starting point for most black and white film photography in British conditions — overcast light, variable weather, a landscape that rarely cooperates — is ISO 400. It gives you enough speed to handhold in reasonable light, enough latitude to handle the flat grey days that outnumber the bright ones, and enough grain character to suit most subjects. From there, you move up or down depending on what the situation actually requires.
Every Stock Reviewed — Character and Best Use
Rollei Ortho 25
The finest-grained film in regular use. Rollei Ortho 25 is an orthochromatic emulsion — it is not sensitive to red wavelengths — which produces a distinctive tonal rendering where blue skies go very pale and reds record darker than you might expect. The grain at this speed is essentially invisible at normal print sizes, and the sharpness is exceptional.
This is a specialist film for specific conditions: bright, contrasty light where you want maximum detail and a clean, almost graphic quality in the tones. It has no latitude for flat light, no forgiveness for underexposure, and at ISO 25 it demands either a tripod or very good light. In the right conditions it produces extraordinary negatives. In the wrong ones it produces thin, flat disappointments — exactly as Pan F did for me on that canal morning.
Ilford Pan F Plus 50
Pan F Plus is a panchromatic film at ISO 50 — sensitive to the full visible spectrum, unlike Rollei Ortho 25 — with exceptional fine grain and a wide tonal range in good light. On a bright day it produces images with a smoothness and clarity that faster films cannot match. The tonal transitions are gradual and full of nuance; fine detail in stone, bark, and water is rendered with a precision that makes the negatives almost luminous when held to the light.
The lesson from the canal morning is built into its specification: ISO 50 means you need light, and not just any light — contrasty, directional light that gives the film something to work with. On flat, overcast days, Pan F has nowhere to go. The contrast it relies on to separate tones is simply not there, and the resulting negatives are flat in a way that no development adjustment fully corrects. Reserve it for the days when the light is with you.
Canal lock, Aldermaston Wharf — the kind of subject that rewards a faster film on a grey day. The tonal compression of overcast light needs a film with enough speed and latitude to work with what the sky gives you.
Ilford FP4 Plus 125
FP4 Plus sits in the middle ground that makes it one of the most genuinely useful films available. At ISO 125 it has enough speed to work in reasonably good light without a tripod, fine enough grain to suit most landscape and portrait subjects, and enough latitude to handle a stop or so of exposure error without falling apart. It does not have the extreme fine grain of Pan F, but it has far more flexibility in the conditions it can handle.
In medium format on the Bronica ETRSi, FP4 Plus produces negatives with excellent tonal gradation and a pleasing, moderate grain structure that suits the scale of the large negative well. It is a film I reach for when I want quality and flexibility in equal measure — when the light is good but not exceptional, and when I want a reliable result rather than an experimental one.
Kentmere Pan 100
Kentmere Pan 100 offers a classic black and white look at an accessible price point. It is closely related to Ilford’s emulsion technology and produces clean, fine-grained negatives with good tonal separation in reasonable light. It is not as refined as FP4 Plus at the same speed range, but the difference in results is modest and the difference in price is significant — which makes it a sensible choice for high-volume shooting or extended projects where cost is a factor.
I used Kentmere Pan 100 for the yellow filter test at Calleva, where its fine grain made the filter’s tonal effects easier to read clearly. It is a reliable everyday stock rather than a speciality film, and it performs consistently in the conditions it is rated for.
Canal pillbox and footbridge — subjects that suit a faster film in flat winter light. The contrast in the final images comes from the subject rather than the sky; a film with latitude handles this better than one optimised for bright conditions.
Ilford HP5 Plus 400
HP5 Plus is the film I reach for more than any other. It is the most versatile black and white stock available at ISO 400 — fast enough to handhold in most conditions, fine enough in grain to suit medium format landscape work, and forgiving enough to handle a stop or two of exposure error without producing unusable negatives. Its tonal rendering is smooth and full-bodied, with good separation across the midtones and a latitude in the highlights that means slightly overcast days produce perfectly workable results rather than flat ones.
HP5 also pushes exceptionally well. Rated at ISO 800 it produces a modest grain increase and higher contrast. At ISO 1600 the grain becomes more pronounced and the shadows go deep — a quality that suits certain subjects and certain moods very well. It is the film I would recommend to anyone starting out in black and white film photography, and it remains the default choice for uncertain conditions or unfamiliar locations.
Kodak Tri-X 400
Tri-X is the other great ISO 400 option, and it has a different character to HP5 that matters in practice. Where HP5 is smooth, Tri-X is harder-edged — the grain structure is more crystalline, the contrast higher, and the overall quality of the image more graphic. Under a push, Tri-X produces the kind of deep-shadow, high-contrast results that have defined a certain aesthetic in black and white photography for decades.
The choice between HP5 and Tri-X is partly about subject matter and partly about personal preference. For architectural work, street photography, or anything where strong tonal contrast is an asset, Tri-X has the edge. For landscape work where smooth tonal gradation and midtone detail matter more than drama, HP5 tends to produce more pleasing results. Both are exceptional; they are simply different tools.
Kentmere Pan 400
Kentmere Pan 400 offers the flexibility of ISO 400 at a significantly lower price than HP5 or Tri-X. The results are not as refined — the tonal rendering is slightly flatter and the grain less characterful — but for learning, high-volume shooting, or situations where you want to burn through film without worrying about cost, it is a practical choice. It develops predictably in Rodinal and produces consistently usable negatives in a wide range of conditions.
Fomapan 100, 200 and 400
Fomapan offers a full range of speeds across its three main stocks, all at prices that undercut the Ilford and Kodak equivalents. The character is distinct — the tonal rendering has a particular quality that suits certain subjects very well, with a slight emphasis on the midtones and a grain structure that is more pronounced than Ilford equivalents at equivalent speeds. Fomapan 100 in good light produces results with genuine charm; Fomapan 400 handles low light adequately though it is more limited in its pushing latitude than HP5.
Fomapan rewards careful exposure and development. It is less forgiving than HP5 of exposure errors, and it responds well to developers that emphasise its midtone character. For photographers who enjoy working with a film that has a distinctive personality rather than a neutral, reliable one, Fomapan is worth exploring seriously.
Lomography Lady Grey 400
Lady Grey is a rebranded Kodak emulsion with a softer, slightly lower-contrast character than either HP5 or Tri-X. It suits portrait and lifestyle photography well, where a gentle tonal rendering is preferable to strong contrast. For landscape work it can feel slightly flat in anything less than good light, but in the right conditions it produces images with a pleasing, unhurried quality. Available in 35mm only.
Narrowboat and towpath, Kennet and Avon Canal — the kind of quiet, overcast subject that ISO 400 film handles comfortably and ISO 50 does not.
Matching Film to Conditions — The Complete Guide
| Film | ISO | Grain | Best Conditions | Avoid When |
|---|---|---|---|---|
| Rollei Ortho 25 | 25 | Extremely fine | Bright sun, long exposure with ND, architecture | Overcast, low light, handheld |
| Ilford Pan F Plus 50 | 50 | Very fine | Bright contrasty light, studio, summer landscape | Flat grey days, low light |
| Ilford FP4 Plus 125 | 125 | Fine | Good to bright light, landscape, medium format | Deep shade, very low light |
| Kentmere Pan 100 | 100 | Fine | Good light, everyday use, filter work | Low light without tripod |
| Ilford HP5 Plus 400 | 400 | Medium, smooth | All conditions — the default choice | When you specifically want minimal grain |
| Kodak Tri-X 400 | 400 | Medium, crystalline | Street, architecture, pushing to 1600/3200 | When smooth tonal gradation is the priority |
| Kentmere Pan 400 | 400 | Medium | Variable conditions, learning, high volume | When maximum quality is needed |
| Fomapan 100/200/400 | 100–400 | Varies | Good light (100/200), variable (400) | Demanding push situations |
| Lomography Lady Grey 400 | 400 | Medium, soft | Portraits, lifestyle, soft light | Flat light landscape work |
| Lucky SHD 400 | 400 | Medium | Experimental, budget shooting | When consistency matters |
Film by Shooting Situation
| Situation | First Choice | Alternative | Avoid |
|---|---|---|---|
| Bright summer day, landscape | Ilford FP4 Plus or Pan F | Rollei Ortho 25 | HP5 (wastes its speed latitude) |
| Overcast British day | Ilford HP5 Plus 400 | Kodak Tri-X 400 | Pan F, Rollei Ortho 25 |
| Woodland or deep shade | HP5 Plus pushed to 800 | Tri-X pushed to 800 | Any ISO 100 or below |
| Handheld street photography | Kodak Tri-X 400 | HP5 Plus 400 | Pan F, FP4 in poor light |
| Medium format landscape | Ilford HP5 Plus or FP4 Plus | Rollei Ortho 25 in good light | Budget stocks where quality matters |
| Low light, no tripod | HP5 Plus pushed to 1600 | Tri-X pushed to 1600 | Anything ISO 200 or below |
| Architecture and texture | Ilford FP4 Plus | Kodak Tri-X | Very slow films without a tripod |
| Budget / high volume shooting | Kentmere Pan 400 | Fomapan 400 | Premium stocks if cost is a concern |
Canal bank vegetation and the field beyond — quiet subjects that ask a film to handle gentle tonal gradation in flat light. ISO 400 films handle this; ISO 50 does not.
What is the best black and white film for beginners?
Ilford HP5 Plus 400 is the most practical starting point for almost everyone. It is fast enough to use in most conditions without a tripod, forgiving enough to handle a stop or two of exposure error, widely available, and consistently produces good results. Once you are comfortable with HP5, the differences between other stocks become easier to appreciate and act on.
What black and white film should I use on an overcast day?
ISO 400 film — HP5 Plus or Tri-X — is the right choice for flat, overcast British conditions. Both have enough speed to handhold comfortably and enough latitude to produce workable negatives even when the light is giving you very little contrast to work with. Slow films like Pan F or Rollei Ortho 25 are the wrong tool for grey days — they need the contrast that bright light provides.
What is the difference between Ilford HP5 and Kodak Tri-X?
Both are ISO 400 black and white films, but they have different characters. HP5 Plus produces smoother, more gradual tonal transitions and handles the full range of landscape subjects well. Tri-X has a sharper, more crystalline grain structure and produces harder-edged, higher-contrast results — particularly under extended development. If you want smooth tonal gradation, choose HP5. If you want drama and grain with a classic look, choose Tri-X. Both push well; Tri-X is particularly well regarded pushed to 1600 or 3200.
When should I use a slow film like Ilford Pan F or Rollei Ortho 25?
Slow films belong in bright, contrasty conditions where you want maximum fine grain and tonal detail. On a clear sunny day, with a tripod available, Pan F or Rollei Ortho 25 will produce results that no ISO 400 film can match in terms of grain smoothness and tonal clarity. The moment the light flattens, however, their limitations become apparent — they do not have the latitude to compensate for what the light is not giving them.
What is the best film for pushing in low light?
Ilford HP5 Plus is the most forgiving film for pushing — it handles a two-stop push to ISO 1600 without falling apart, producing higher contrast and more pronounced grain but still workable, characterful negatives. Kodak Tri-X pushed to the same level produces harder, more crystalline results that suit certain subjects very well. Both are significantly better for pushing than budget stocks like Fomapan or Kentmere. The full guide to pushing film covers this in detail.
Is Fomapan worth using over Ilford?
Fomapan is worth using if cost is a factor or if its particular tonal character appeals to you. It is less consistent and less forgiving than Ilford stocks, but in good light and with careful exposure and development it produces results with genuine character. It is not a like-for-like substitute for HP5 or FP4, but it is not trying to be — it has its own qualities and its own best conditions.
Where can I buy black and white film in the UK?
The guide to where to buy film in the UK covers the main suppliers in detail — from specialist film retailers to online options for both mainstream and harder-to-find stocks. For budget black and white film specifically, the guide to affordable black and white film in the UK covers the most cost-effective options currently available.
Does the developer affect which film I should choose?
Yes — developer choice interacts with film choice in ways that matter. Rodinal at high dilutions (1+50 or 1+100) produces pronounced, sharp-edged grain and high acutance, which suits films like HP5 and FP4 that have good inherent tonal structure. Fine-grain developers suppress grain at the cost of slight softness, which suits slow films where maximum clarity is the goal. The film development guide covers developer options in full.
This post is part of the Film Photography Hub — reviews, guides, and real-world observations from shooting and developing black and white film.
I actually think these photos are brilliant. I like the good contrast and fine grain. The texture of the water is particularly impressive. I’ve only used Pan F once, whilst skiing in the Alps last year. I was really impressed. Very bright conditions and high contrast results.
Thanks, Greg — I really appreciate that.
Pan F definitely seems to shine in bright, high-contrast conditions like you describe in the Alps. It’s interesting hearing your experience, and it’s made me look at my own results a little differently. The water texture was one of the few things I felt it handled beautifully, so I’m glad that came through.
Thanks again for taking the time to comment.