Kodak Super XX may (possibly) be revivied

greenspun.com : LUSENET : Large format photography : One Thread

Ron Wisner is working to try and get Kodak to re-introduce Super XX.

He has talked with Kodak and got a slightly positive reponse, be he needs to gather support from possible users, how much they might use etc.

Go to:


for his note on this.

PS I recently shot and processed some old Super XX I got with a Super Graphic outfit - dated 74 I think. It came out very well, and I also liked the feel of it.

Tim A

-- Tim Atherton (tim@KairosPhoto.com), April 10, 2000


Boy I hope so. I had a whole system set up around that stuff. I have two boxes left that are in cold storage and then that's it.

-- Tony Brent (ajbrent@mich.com), April 10, 2000.

well make sure you e mail Wisner. Kodak needs to know what support/customer base there is for bringing it back.

Tim A

-- Tim Atherton (tim@KairosPhoto.com), April 10, 2000.

maybe it would help to spark interest for some of us new to large format if somebody could elaborate on "the feel of it". Naturally, I have never heard of this film and I will admit I am intrigued. What charecteristics set it apart from say... Tri-x or T-max (even I can see they all have x! ha ha)

-- paul schuster (paul@schusterphoto.com), April 11, 2000.

What is it about Super-XX that makes people so nuts for it?

-- bryant urstadt (bryantu@mindspring.com), April 11, 2000.

I know Ansel used it a lot. It was also the recommended film for making b&w separation negatives for dye transfer color printing. I think it was because it had a long, very linear straight-line portion of its characteristic curve and gave very even, predicatble results with a lot of room for zone system manipulation.

I loved it as a portrait film for its nice smooth tonal qualities. As long as there was adequate shadow exposure, you could do just about anything you wanted with the neg without running off the end of the scale. It never seemed to block up the highlights, no matter how far I developed it. There was always a nice rendition in the high values.

-- Tony Brent (ajbrent@mich.com), April 11, 2000.

Very long and linear H&D, uniform response to colors, (making it ideal for three-color separation and a good match to most printing papers). The thick emulsion makes it near perfect for Pyro development. It is also quite grainy, and IMHO, suitable only for LF negatives without specular highlights.

-- Bill Mitchell (bmitch@home.com), April 11, 2000.

Hmm, why all the fuss. Do we but 1954 Cadillacs. Forget it, use T-Max and enjoy.

-- Bill Smithe (billyboy69@aol.com), April 11, 2000.

Those looking for a golden-oldie might investigate Ektapan, which is still available, but, I imagine, on the endangered species list. Studio photographers may know otherwise. It is a "bi-emulsion" film like Verichrome Pan is, according to Anchell & Troop's Film Developing b

-- David Stein (DFStein@aol.com), April 11, 2000.

don't hold your breath to long with either kodak or ron wisner.

-- rich silha (turix001@gold.tc.umn.edu), April 12, 2000.

I remember reading recently in "View Camera" that the Bergger 200 film is extremely similar in tonal response and grain structure to Super XX.

-- Ellis Vener (evphoto@insync.net), April 14, 2000.

Moderation questions? read the FAQ