Understanding how developer chemistry evolved—and what it means for today’s analog photographers
This guide explores the evolution of black-and-white photographic developer chemistry, not just for film but also for printing papers. Every section is fact-checked using trusted sources, original data sheets, and photographic history archives to ensure 100% credibility.
Black and White Developer Formulas: From Amidol to XTOL
Table of Contents
Master the Craft of Analog Photography On Your Own Schedule
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1890s – The Amidol Era: Contact Printing’s Golden Age
Used For: Contact printing papers (e.g., gaslight, silver chloride papers)
Chemical Characteristics:
- Developer: Amidol (active in acidic solution)
- Preservative: Sodium sulfite
- Acidifier: Citric acid or sodium bisulfite
- Restrainer: Potassium bromide (KBr)
Why It Mattered:
Amidol enabled deep blacks, low fog, and excellent tonal gradation at room temperature. Its acidic formulation and flexibility with KBr for tone control made it a staple for contact printers like Weston.
Notable Photographer: Edward Weston used amidol with Kodak AZO silver chloride papers.
Weston’s Amidol Formula:
- Amidol: 6.5 g
- Sodium sulfite (anhydrous): 20 g
- Potassium bromide: 1.5 g (adjustable)
- Water to 1 liter
Development Time: ~2 to 3 minutes at 68°F. Single-use only.
⚡ Note: Kodak AZO is no longer made. The closest current paper is Adox Lupex, though it differs in formulation.
Tonal Control Tips (from Michael A. Smith and expert printers):
- Neutral tone: 1.0–1.5 g/L of KBr
- Slight warm tone: 2.0–2.5 g/L
- Warm tone: 3.0+ g/L (may reduce density)
1920s – Metol and the MQ Developer Era
Used For: Film and enlarging paper
Chemical Characteristics:
- Developers: Metol + Hydroquinone (MQ)
- Preservative: Sodium sulfite
- Alkali: Borax or sodium carbonate
Why It Mattered:
The MQ combination brought balance—Metol for fine grain and Hydroquinone for contrast. It became the basis for D-72 and D-76, still industry standards today.
Example Formula – Kodak D-72:
- Metol: 2.0 g
- Hydroquinone: 8.0 g
- Sodium sulfite: 45.0 g
- Sodium carbonate (monohydrated): 85.0 g
- Potassium bromide: 5.0 g
- Water to 1 liter
Tips:
- Add more hydroquinone = more contrast
- Add more KBr = warmer tone, reduced fog
Notable Photographers: Ansel Adams (early years), Minor White
The First Book Designed Specifically for Hybrid B&W Film Photographers
If you shoot black and white film and use digital tools to scan, edit, and print, this book was written for you.
15 films × 35 developer recipes from XTOL to ABC Pyro. Exposure → Scan → Print, fully calibrated.
For years, resources for B&W photographers have catered to darkroom workflows, ignoring the reality of today’s hybrid workflow.
So I created what didn’t exist: the first in-depth guide built entirely around the needs of black-and-white film photographers who scan their negatives.
You’ll be hard-pressed to find another resource that goes this deep into the hybrid black-and-white film, scan, and edit workflow—written for working photographers.
You’ll learn:
- Master B&W end-to-end—15 films, 35 developer recipes, proven exposure, development, scanning, printing.
- How to expose film for maximum digital latitude
- Why developer choices change when your end goal is a scan, rather than printing in the darkroom.
- Tonality, grain, and contrast explained for optimized scanned negatives
- How to mix and match emulsions with developers for superior results
You’ll get immediate access to the book in PDF format (154 pages) to view on any device, and you get free updates for life.
If you work hybrid, this is the handbook I wish I’d had—practical, repeatable, and deeper than anything I’ve seen elsewhere.
Limited-Time Bonus:
Order now and you’ll also receive a free bonus copy of my B&W Developer Formula Book ($49 value)—a comprehensive companion reference packed with verified chemical recipes, usage notes, and developer profiles optimized for hybrid workflows.
1930s – Glycin: The Forgotten Developer
Used For: Film and paper
Chemical Characteristics:
- Developer: Glycin (mild, long-working life)
- Preservative: Sodium sulfite
- Alkali: Sodium carbonate
Why It Mattered:
Glycin offered smooth tones, subtle highlights, and long shelf life. Though slow and expensive, it’s still prized in fine art printing circles.
Example Formula – Ansco 130:
- Glycin: 2.0 g
- Metol: 2.2 g
- Sodium sulfite: 50.0 g
- Hydroquinone: 11.0 g
- Sodium carbonate: 78.0 g
- Potassium bromide: 5.5 g
- Water to 1 liter
Tips:
- Very long life in solution
- Great for warm-tone papers and soft tonal transitions
1939 – D-76: The Gold Standard
Used For: Film
Chemical Characteristics:
- Developers: Metol + Hydroquinone
- Preservative: Sodium sulfite (high concentration)
- Buffer: Borax
Why It Mattered:
D-76 balanced contrast, tonality, and grain with high consistency. Its buffered system resists exhaustion, making it ideal for volume processing.
Example Formula – Kodak D-76:
- Metol: 2.0 g
- Sodium sulfite: 100.0 g
- Hydroquinone: 5.0 g
- Borax: 2.0 g
- Water to 1 liter
Tips:
- 1:1 dilution = sharper negatives
- Full strength = finest grain
Notable Photographers: W. Eugene Smith, Henri Cartier-Bresson
1940s–1960s – Pyro: The Staining Revolution
Used For: Film
Chemical Characteristics:
- Developers: Pyrogallol or Pyrocatechin
- Preservative: Sodium sulfite (low)
- Staining Agent: Tans film base to act as contrast mask
Why It Mattered:
Pyro formulas offered built-in masking with their stain, enhancing acutance and highlight control—ideal for contact printing and platinum/palladium workflows.
Example Formula – ABC Pyro (3-part):
- A: Pyrogallol 7.5 g + Sodium metabisulfite 7.5 g
- B: Sodium carbonate 37.5 g
- C: Potassium bromide 1.5 g
Mix for Use: A:B:C:Water = 1:1:1:7
Notable Photographers: Edward Weston, Sandy King, Michael A. Smith
1960s–1980s – Fine Grain Solvent Developers
Used For: Film
Chemical Characteristics:
- Solvents: Sodium sulfite + anti-solvent additives
- Developer: Metol only
Why It Mattered:
These developers reduced edge sharpness but minimized grain—perfect for slow films like Panatomic-X or Ilford Pan F when micro-detail mattered.
Example Formula – Kodak Microdol-X:
- Metol: 7.5 g
- Sodium sulfite: 100.0 g
- Sodium chloride: 5.0 g
- Water to 1 liter
Tips:
- Full strength = ultra-fine grain
- 1:3 dilution = higher edge sharpness
Master the Craft of Analog Photography On Your Own Schedule
My Analog Photography Video Workshops deliver in-depth, practical instruction you can watch anytime. Whether you’re in the darkroom or out in the field, these workshops are designed to help you grow your analog photography and darkroom skills with clarity and confidence. 👉 Explore the workshops now.
1990s – XTOL: The Modern Standard
Used For: Film
Chemical Characteristics:
- Developer: Ascorbic acid + Phenidone
- Preservative: Sodium sulfite
Why It Mattered:
XTOL delivered sharp, fine-grain negatives with full speed and environmentally safer chemistry. It’s become the modern benchmark for scanning and hybrid workflows.
General Formula (approximated):
- Ascorbic acid: ~10 g
- Phenidone: ~0.1 g
- Sodium sulfite: moderate
- Buffer: Borax or carbonate
Tips:
- Excellent for scanning
- High acutance and full box speed
Notable Photographers: Used broadly by contemporary analog artists
Use Case: Matching Film & Developer to Artistic Intent in Solitary Witnesses
In my Solitary Witnesses project, I aim to express emotion through soft focus, luminous tones, and atmospheric rendering. The visual language is poetic, with emphasis on feeling rather than detail. This means my choices in film and developer must support mood over resolution.
For this project, I would recommend using Ilford HP5+ developed in D-23 diluted 1:1. Here’s why:
- HP5+ has a classic cubic grain structure, moderate contrast, and excellent shadow latitude—ideal for backlit or ethereal subjects.
- D-23 is a compensating developer, minimizing contrast and opening up shadow detail while taming bright highlights.
- The 1:1 dilution increases local acutance and slows development, giving me more tonal control.
This pairing supports the softness of my Verito lens and keeps the negative printable in silver gelatin or hybrid workflows without blocking highlights. It also maintains a traditional analog aesthetic with long tonal scale—perfectly suited to the emotional range of this series.
By understanding developer history and chemistry, you can make creative choices that align with your vision instead of simply relying on generic pairings. That’s the real power of the darkroom.
Ready to go deeper with your photography? – Join the Darkroom Diary Premium Membership—a creative refuge for film photographers working with 35mm, medium format, or large format. Whether you’re scanning and sharing or crafting fine art prints, you’ll find expert guidance, meaningful conversation, and a supportive community focused on vision, process, and emotional impact. Join today and start creating work that truly matters.
If you shoot black and white film and use digital tools to scan, edit, and print, this book was written for you.
15 films × 35 developer recipes from XTOL to ABC Pyro. Exposure → Scan → Print, fully calibrated.
For years, resources for B&W photographers have catered to darkroom workflows, ignoring the reality of today’s hybrid workflow.
So I created what didn’t exist: the first in-depth guide built entirely around the needs of black-and-white film photographers who scan their negatives.
You’ll be hard-pressed to find another resource that goes this deep into the hybrid black-and-white film, scan, and edit workflow—written for working photographers.
You’ll learn:
- Master B&W end-to-end—15 films, 35 developer recipes, proven exposure, development, scanning, printing.
- How to expose film for maximum digital latitude
- Why developer choices change when your end goal is a scan, rather than printing in the darkroom.
- Tonality, grain, and contrast explained for optimized scanned negatives
- How to mix and match emulsions with developers for superior results
Limited-Time Bonus:
Order now and you’ll also receive a free bonus copy of my B&W Developer Formula Book ($49 value)—a comprehensive companion reference packed with verified chemical recipes, usage notes, and developer profiles optimized for hybrid workflows.
External Resources
Ilford Photo – Guide to Processing B&W Film
https://www.ilfordphoto.com/techniques/
A comprehensive collection of technical guides and processing tips from one of the most respected manufacturers of black and white film and chemistry.
Kodak Alaris – B&W Film Processing Information
https://imaging.kodakalaris.com/professional-photographers/film
Includes detailed tech sheets and developer pairings for Kodak black and white films, including historical context for D-76 and XTOL.
Film Photography Project – Developer Overview
https://filmphotographyproject.com/developer-overview/
Educational resource offering reviews, comparisons, and practical tips on various developers from a popular analog photography community.
