Ilford HP5 Plus vs Kodak Tri-X 400: The Classic B&W Showdown
Two ISO 400 black-and-white legends, two different looks. How HP5 Plus and Tri-X 400 differ in grain, tonality, latitude and pushing — and which one to load.
The short answer
Tri-X 400 gives you contrast, deep blacks and the gritty photojournalism look. HP5 Plus is smoother and more forgiving, with a longer tonal scale that is easier to scan and print. Both push beautifully. If you cannot decide, start with HP5 Plus and add Tri-X when you want more attitude.
Grain and tonality
Tri-X has the more assertive grain and a steeper contrast curve. Shadows block up sooner, highlights glow, and the mid-tones are punchy — exactly the look that made it the default for documentary work. HP5 Plus is a little softer and more linear: highlights roll off more gradually and the shadows open up with less coaxing.
That difference matters most in flat light. Under a dull sky, HP5 Plus keeps separation where Tri-X can go muddy. In hard, contrasty light, Tri-X turns that contrast into drama.
Exposure latitude
Both films are famously tolerant, but they lean in opposite directions. Tri-X handles underexposure a little better, which suits available-darkness shooting. HP5 Plus handles overexposure beautifully: rate it at 200 and the highlights stay creamy rather than blowing out.
If you meter loosely, HP5 Plus is the safer bet. If you expose for the shadows and let the highlights fend for themselves, Tri-X rewards you.
Pushing
This is where both films shine. HP5 Plus pushes to 1600 and 3200 with grain that reads as texture, not noise. Tri-X pushed to 1600 gains contrast and atmosphere and remains completely usable. For night and stage work, either will do; the choice is tonal, not technical.
Develop accordingly: a speed-increasing developer such as Microphen or DD-X tames the contrast, while a standard developer such as D-76 or ID-11 keeps more bite.
Scanning and printing
Digital scanning favours HP5 Plus. Its gentler contrast and more open shadows capture more usable information, and the files need less wrestling in post. Tri-X negatives are denser in the shadows, which can require more careful scanning but deliver richer prints in the darkroom.
In the wet darkroom, Tri-X on fibre paper is the classic combination. For hybrid workflows, HP5 Plus is usually the smoother path.
Verdict
| Question | HP5 Plus | Tri-X 400 |
|---|---|---|
| Contrast | Moderate | High |
| Grain | Present, smooth | Assertive, gritty |
| Overexposure | Excellent | Good |
| Underexposure | Good | Excellent |
| Pushing | Up to 3200+ | Up to 1600–3200 |
| Look | Documentary, gentle | Photojournalism, dramatic |
Load HP5 Plus for a versatile everyday black-and-white, and Tri-X when the picture needs grit and punch.