A Black and White Film Adventure with Xtol 1+1 and Kodak Double-X in Taipei

A Black and White Film Adventure with Xtol 1+1 and Kodak Double-X in Taipei

Diary

A Black and White Film Adventure with Xtol 1+1 and Kodak Double-X in Taipei

Kodak-Xtol-1+1-dilution-double-x-eastman-5222-black-and-white-film-negative-leica-summilux-24mm-f1.4-asph-1.4-taipei-taiwan-street copy
Leica Summilux 24/1.4 asph, Xtol 1+1, Kodak Double-X, Taipei
Kodak-Xtol-1+1-dilution-double-x-eastman-5222-black-and-white-film-negative-leica-summilux-35mm-f1.4-asph-11874-china-playing-cards copy
Leica Summilux 35/1.4 asph 11874, Xtol 1+1, Kodak Double-X @400, China

My journey with Xtol 1+1 began after discovering its potential for sharpness and economical use, as I had previously been using Kodak HC-110 as my go-to chemical. After seeing posts on forums and Instagram praising Xtol, I decided to try the Bellini Eco Film Developer in a 1+1 dilution: one part developer and one part water.

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Leica Summilux 28/1.4 asph, Xtol 1+1, Kodak Double-X @400, Hong Kong

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My initial results were promising, as I developed three rolls of Kodak Double-X at box speed 250. However, I soon encountered issues in my later batches, as I wasn’t aware of the necessary 15% developer time compensation after the sixth roll. I continued to develop two rolls of Kodak Tmax 400, one roll of Tri-X, two rolls of Kodak Double-X at ISO 400, and finally two rolls of Fuji Acros II. The last batch with Fuji Neopan Acros II appeared underdeveloped, and the film strip labels were noticeably faded.

Kodak-Xtol-1+1-dilution-double-x-eastman-5222-black-and-white-film-negative-leica-summilux-28mm-f1.4-asph-portrait-gabriel copy
Leica Summilux 28/1.4 asph, Xtol 1+1, Kodak Double-X @400, Hong Kong
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Leica Summilux 28/1.4 asph, Xtol 1+1, Kodak Double-X @400, Hong Kong

From this experience, I learned the importance of developing smaller batches and compensating for developer time. Although I typically develop six rolls at a time, I had developed ten this time around. I’m grateful to have discovered this mistake accidentally, as it could have led to greater disappointment down the road.

Kodak-Xtol-1+1-dilution-double-x-eastman-5222-black-and-white-film-negative-leica-summilux-35mm-f1.4-asph-11874-china-train copy
Leica Summilux 35/1.4 asph 11874, Xtol 1+1, Kodak Double-X @400, China
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Leica Summilux 24/1.4 asph, Xtol 1+1, Kodak Tri-X, Taipei
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Leica Summilux 24/1.4 asph, Xtol 1+1, Kodak Tri-X, Taipei

During my trip to Taipei, I shot eight rolls of black and white film, primarily using my Leica Summilux 24mm f/1.4 asph. This lens, which I talked about in a previous post, pushed me out of my comfort zone. One of my most memorable moments was at Chiang Kai-shek Memorial Hall, where I was captivated by soldiers marching out of an elevator. I attempted to capture their procession from a fresh perspective, which was an exciting new challenge for me.

In the end, I prefer the results of the Xtol solution at stock rather than the 1+1 dilution. I’m also curious as to why my second batch, rolls 4-6, showed signs of underdevelopment. If you know the answer, please share it in the comments below!

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Leica Summilux 24/1.4 asph, Xtol 1+1, Kodak Tri-X, Taipei
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Leica Summilux 24/1.4 asph, Xtol 1+1, Kodak Tri-X, Taipei
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4 Comments

  1. I am a massive fan of the Xtol 1+1 (I use Adox XT3)…but as one-shot. Not quite as economical but very consistent results. Curious what you didn’t like vs stock (as I’ve never actually used it at stock!)

    • This is my first time using Xtol 1+1. I think the photos are sharper than stock but using stock gives me crisp images and the contrast looks more appeal to me. I think next time I need to compensate the time better with 1+1 or maybe I should learn from you using 1+1 as one-shot.

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