Lucky SHD400 Review — Three Rolls, 34 Frames, and an Honest Review

A Film With a Bad Reputation and a Beautiful Soul

Every so often, a film stock appears that splits opinion down the middle. Some photographers praise its character; others warn you off with raised eyebrows and cautionary tales. Lucky SHD400 is one of those films — cheap, moody, imperfect, inconsistent… and yet strangely captivating.

During a quiet winter escape to Cornwall, armed only with my Bronica ETRSi and three rolls of Lucky SHD400, I set out to see which side of the debate I’d land on. I wasn’t looking for perfection. I was looking for honesty — something raw, textured, atmospheric.

What I found was a film that frustrated me at times, surprised me at others, and eventually won me over. Not for landscapes. Not for accuracy. But for emotion.

This is that journey — technical where it needs to be, reflective everywhere else — and the start of several new project ideas fuelled by this strange, smoky Chinese emulsion.

⬇️ ALL Photos in Gallery Below ⬇️

Why Take Lucky SHD400 to Cornwall?

Cornwall is not the obvious playground for a budget film with an uneven reputation. Winter light there is hard and low, shadows deep, edges crisp. Most photographers reach for HP5, FP4, Tri-X — the safe bets.

But I wanted something different.

Cornwall in winter feels like an old memory: salt, wind, stone, iron, gulls, ropes, rust, decay. I wanted a film that matched that emotional palette — something a little worn, a little ghostly, a little haunted.

Lucky SHD400 seemed like the perfect gamble.

I shot all three 120 rolls handheld on the Bronica, usually around f/2.8–f/4, fighting Atlantic winds that loved to shove the camera at the worst possible moments. Exposure was kept near box speed, sometimes leaning to EI 320 when shadows grew hungry.

The results surprised me — not because they were perfect, but because they were consistent in their inconsistency. They had a mood. A voice. A sense of age.

What the Community Says About Lucky SHD400 Cheap Chinese Film

Before shooting, I researched SHD400 extensively. Across authoritative sources — including 35mmc, Photrio, various lab reviews, and analogue communities — the same characteristics are often mentioned:

• Thin acetate base that dries very quickly
• Higher contrast than typical budget films
• Noticeable grain, sometimes coarse
• Old-fashioned tonality, almost 1960s in feel
• Occasional QC quirks like coating specks or edge fog
• Best results under generous exposure

None of this put me off. In a world of perfect sensors, flawless lenses and clinical rendering, the idea of something messy and unpredictable felt refreshing.

Lucky SHD400 is a film that asks you to let go of control.

Not Meant for Landscapes — And That’s Fine

Let’s address the big point immediately:

I would not use Lucky SHD400 for landscapes.

Cornish landscapes need latitude, depth, nuance, highlight control. SHD400 offers none of these generously.

Wide scenes flatten. Highlights block up. Shadows collapse with little warning. Clouds lose detail. Sea spray becomes white patches.

But get close, and the story changes.

• Rust
• Peeling paint
• Old tools
• Stone
• Ropes
• Weathered wood
• Moss
• Flecks of salt and iron

Suddenly the film comes alive. It wants to see broken things. It wants to see textures. It wants to feel haunted by history.

This film doesn’t love horizons.
It loves surfaces.

Image Characteristics

Grain

Chunky. Gritty. Sharp in places, soft in others. Not unpleasant, but definitely pronounced. Perfect for gritty projects and dark subjects.

Contrast

Moderately high, especially in winter light. Indoors or shade can get muddy unless you give it an extra half-stop.

Sharpness

Respectable in centre frame on the Bronica ETRSi. Edges soften slightly. Overall, “old-world” rather than modern.

Tonal Range

Narrower than HP5 or Foma. Shadows can sink; highlights can run. The magic sits in the mid-tones.

Development Notes — Ilfosol 3

I developed all three rolls in Ilfosol 3, mixed fresh at 1+9. Ilfosol 3 gives SHD400 a surprisingly cleaner grain profile than expected, without stripping away its character. It tightens the edges and lifts micro-contrast just enough to help with scanning.

My final working time:

• 7 minutes 30 seconds at 20°C
• 10 seconds agitation at start
• 5 seconds every minute

The film’s thin acetate base was immediately noticeable once wet. It dries in no time — far quicker than Ilford or Kodak films — but curls slightly. A weighted flattening helped.

Development Table

Digitising With the Canon 5DSR — My Only Scanning Method

I’ve never used a flatbed or dedicated film scanner. Every negative I’ve ever digitised, I’ve done so using my Canon EOS 5DSR with a macro lens. It’s a system I trust, and it handles SHD400 beautifully.

The 5DSR’s 50.6MP sensor pulls out:

• individual grain structure
• delicate micro-contrast
• subtle texture in weathered subjects
• strong sharpness without overdoing clarity

I used a basic LED light panel and film holder. The negatives, despite curling slightly, settled nicely after a quick flatten under a book for 10 minutes.

Once captured, the RAW files from the 5DSR respond wonderfully in Lightroom. SHD400’s coarse grain renders like charcoal rather than mush. Its mid-tones feel fuller. Highlights are easier to tame.

For a “budget” film, scanned this way, Lucky SHD400 takes on a cinematic quality.

Lucky SHD400 Review Comparison to Other Films

Against Ilford HP5

HP5 is modern, flexible, dependable. SHD400 is moody, narrow, vintage. HP5 gives you information; Lucky gives you feeling.

Against Kodak Tri-X

Tri-X is the gold standard — smooth, creamy, iconic. SHD400 feels like Tri-X’s wild cousin who listens to punk, smokes roll-ups, and fixes radios in a shed.

Against Foma 400

Foma or Fomapan is SHD400’s closest opponent in price and vibe. Foma has better highlight retention. Lucky has a more antique atmosphere, deeper blacks, and a “smokier” look.

Where Lucky SHD400 Truly Shines

This film absolutely glows when you point it at:

• abandoned machinery
• rusted gates
• corroded boat fittings
• ropes and nets
• broken windows
• forgotten paths
• peeling paint
• moss-coated stone
• scrapyard textures
• industrial ruins

These are the subjects where its grain and contrast sing.

Project Idea 1: Salt, Paint & Iron

Weather-beaten surfaces across old coastal towns.

Project Idea 2: The Tools We Left Behind

Old tools, broken objects, decaying utility.

Project Idea 3: Ghosts of Industry

Old railway metalwork, collapsing fences, abandoned infrastructure.

SHD400 is not for beauty.
It is for history.

My Experience: 34 Frames Worth Keeping

From the three rolls, 34 images survived my editing process. Some were soft from the wind. Some had shadows that collapsed earlier than expected. A few had edge halation.

But the ones that worked?
They really worked.

The images feel like found memories. Not clean. Not sharp. But emotional. Dark. Textured. Atmospheric.

Lucky SHD400 made Cornwall feel like a place pulled from the past.

TikTok Video

Pros & Cons

Pros

• Extremely affordable
• Fast-drying negatives
• Unique old-world look
• Beautiful for textures
• Great DSLR scanning results
• Strong atmosphere

Cons

• Unpredictable contrast
• Not suited for landscapes
• Narrow tonal range
• Occasional quirks
• Thin base curls

Table: When to Use Lucky SHD400

FAQ — Lucky SHD400 (120)

Is Lucky SHD400 good for beginners?

Only if they embrace imperfection. It rewards experimentation, not precision.

Should I use it for landscapes?

No — there are far better options.

Can it be pushed?

+1 is okay. Beyond that, contrast and grain get unruly.

Is the thin base a problem?

Not really. It curls but flattens easily.

Is DSLR scanning a good match?

Absolutely. High-resolution DSLR scanning makes this film shine.

Final Thoughts and Gallery of Images

Lucky SHD400 is not for everyone — but it is absolutely for me. It’s a film full of character, mood, and grit. A film that tells stories softly and imperfectly. A film that suits the themes I keep coming back to: loneliness, decay, forgotten things, weathered surfaces, and the beauty of age.

It will never replace HP5.
It will never compete with Tri-X.
It will never impress someone looking for perfect negatives.

But it will impress anyone who values atmosphere.

And for me, atmosphere is everything.

I’ll keep Lucky SHD400 stocked on my shelf — not for every trip, not for every project, but for the days when I want a film that feels as worn and human as the subjects I like to photograph.

Show Favourite Photos

FAQ — Lucky SHD400 (120 Medium Format Film)

1. What type of film is Lucky SHD400?

Lucky SHD400 is a 120 medium-format black-and-white film from China. It is budget-friendly, with a vintage aesthetic, pronounced grain, and higher contrast than typical consumer stocks.

2. Which cameras work best with SHD400?

Any 120 camera works, but I used a Bronica ETRSi. It performs well in 6×4.5 and 6×6 formats. Its thin base means careful handling is important to avoid curling or scratches.

3. Should I shoot landscapes on SHD400?

Not recommended. SHD400 struggles with wide dynamic range, often losing cloud and highlight detail. It excels on textures, weathered surfaces, and close-up subjects.

4. How should I meter SHD400?

Metering at box speed (ISO 400) works in most conditions. For overcast or shadowed areas, consider slightly overexposing (+1/3 stop) to retain mid-tones and prevent shadow crush.

5. Can SHD400 be pushed or pulled?

+1 stop push is manageable. Beyond that, grain and contrast become extreme. Pulling slightly is possible but flattens tonal range.

6. Which developers work best?

I developed mine in Ilfosol 3 (1+9) for 6m 30s at 20°C. Other options include ID-11 or Foma ID-11, but Ilfosol 3 produces slightly cleaner grain and more mid-tone control.

7. How do I handle thin acetate negatives?

• Handle by edges
• Avoid scraping with fingers or tools
• Flatten with a book or light weight before scanning
• Dry quickly on a lint-free surface

8. How do I scan SHD400 for best results?

DSLR scanning is ideal. I use a Canon 5DSR with a macro lens and LED light panel. This preserves grain, tonality, and micro-contrast better than flatbeds.

9. What subjects suit SHD400?

• Rusted or corroded metal
• Peeling paint and old wood
• Industrial decay
• Abandoned tools or objects
• Mossy stones and textured walls
• Urban grit or forgotten corners

10. How does SHD400 compare to other films?

• Foma 400: Similar price, Foma is more consistent; SHD400 has a “smokier” vintage aesthetic.
• Ilford HP5: HP5 is neutral and flexible; SHD400 is moodier and unpredictable.
• Kodak Tri-X: Tri-X is creamy and refined; SHD400 is gritty and raw.

11. Is it beginner-friendly?

Yes, if you embrace experimentation and accept inconsistency. No, if you need technically predictable results every time.

12. How should I expose for tricky light?

Expose for mid-tones when in doubt. SHD400 does not retain highlight detail well and shadows can block up quickly.

13. Can SHD400 handle long exposures?

It’s not ideal. Extended exposures may increase base fog or uneven contrast. Best for short exposures, textures, and intimate subjects.

14. How long can I store unused or developed film?

• Unexposed: 2–3 years in a cool, dry place
• Developed negatives: stable if stored in archival sleeves away from direct light

15. What creative projects suit this film?

• Salt, Paint & Iron: weathered surfaces along coastal towns
• The Tools We Left Behind: abandoned industrial tools
• Ghosts of Industry: old railway, metalwork, and decayed infrastructure
• Urban decay and street grit: for textured, atmospheric photography
• Macro studies of natural textures: moss, stone, rust

SHD400 shines when subjects have history, imperfection, and texture. It’s a film that rewards patience, observation, and embracing imperfection.

Please leave this field empty

WANT MORE?

SIGN UP TO RECEIVE MY LATEST PHOTOGRAPHY TIPS & TRICKS & PHOTO STORIES

We don’t spam! Read our privacy policy for more info.

Check your inbox or spam folder to confirm your subscription.