Underground BXL HP5

Underground 3: retakes on HP5+

By Geoff Chaplin

The aim was noble I think. To retake underground 1 and 2 shots on film. I would necessarily need to expose either slow film using a tripod (anathema to me, and permission would be required from the museum) or use a fast film hand held at slowish shutter speeds. I chose the latter and picked HP5+ to be stand developed in Rodinal – stand developing being a compensating process allowing the underexposed areas to be developed for longer while controlling the development of the highlights giving a full tonal scale. Or so the story goes.

I should add 400asa and I have a history together. It’s over 50 years since I used high speed film regularly – and that was to photograph meteors. Times after that when I used 400asa film I can only say I disliked the results. And still do. And the results of the retakes have done nothing to change my mind. I don’t like fast film. Got that?

I retook images using a Leica MP, incident light metering, the same 50mm Zeiss Sonnar as in the previous articles but just for fun I also took along my Voigtlander 15mm f4.5 lens. Yes, f4.5. With the Sonnar at f2 and exposing at box speed exposure time was generally 1/30 to 1/15 of a second. F4.5 you say? Yes, exposures generally 1/8 to ¼ second. Bear in mind the 15mm focal length can be handheld easily to give sharp images at 1/15 second, so for both lenses I’m only talking about 1 to 2 stops longer exposure than that. It puzzles me that digital photographers with 5 stops of image stabilisation sometimes take snapshots using a tripod in bright sunshine – what the hell are they doing? Sorry, I’m in a grumpy mood today.

Film was scanned on a Sony A7Riii and Sigma 105mm macro lens. I tried rescanning with different setting to get as much from the highlights as possible – with limited success. It will be interesting to see how wet process prints cope.

Underground BXL HP5
Walkway deep under the former chapel
Underground BXL HP5
Rue Isabelle from the top. The concrete beam and slab support the world above.
Underground BXL HP5
The great oven
Underground BXL HP5
Chapel basement. 15mm lens.
Underground BXL HP5
The bottom of Rue Isabelle, 15mm lens.
Underground BXL HP5
Rue Isabelle from midway, looking down. 15mm lens.

The underground remains of the palace are far more extensive than the sewer tour – the latter being essentially just a short walk by the underground river and another short walk over a main sewer, while the palace offers the opportunity to get lost at least on a first visit.

Underground BXL HP5
River. Note debris on the fence showing that the walkway is often partially underwater.
Underground BXL HP5
Walkway over the main sewer.
Underground BXL HP5
Exit and entrance. The steps lead to an 80kg manhole cover and the main road.

I’ve probably made it clear that I’m not happy with the results on HP5+, primarily because of the blown highlights which you probably noticed, let alone the post-apocalyptic grain. Pyro developer would have handled both better at the cost of another one or two stops exposure and the need for a tripod. Had I taken that route I would have also chosen FP4+ film instead.

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About The Author

By Geoff Chaplin
Primarily a user of Leica film cameras and 8x10 for the past 30 years, recently a mix of film and digital. Interests are concept and series based art work. Professionally trained in astronomical photography, a scientist and mathematician.
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Comments

jfbonnin on Underground 3: retakes on HP5+

Comment posted: 20/09/2025

Great !
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Geoff Chaplin replied:

Comment posted: 20/09/2025

Thanks JF.

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Thomas Wolstenholme on Underground 3: retakes on HP5+

Comment posted: 20/09/2025

I look forward to seeing a set of wet prints done from these negatives, assuming that some serious hand work goes into the print exposure process. I see the blown out highlights, but this strikes me more as a combined effect of exposure, film choice for this lighting and developer choice and usage. I've done and seen work work by others in somewhat similar, although clearly not identical, circumstances which rendered the highlights better than this. But highlights aside, these are remarkably acceptable. And at least as presented in this article, the grain is not bad.
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Geoff Chaplin replied:

Comment posted: 20/09/2025

Thanks Thomas. Cleaning my enlarger and hoping to get round to it in a couple of weeks. If I was serious I should have used a tripod, FP4 and Pyro plus spot metering.

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Eugene de Bruin on Underground 3: retakes on HP5+

Comment posted: 20/09/2025

Thank you for sharing. Impressive!
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Geoff Chaplin replied:

Comment posted: 20/09/2025

Thanks Eugene.

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Gary Smith on Underground 3: retakes on HP5+

Comment posted: 20/09/2025

I remember the first two shots from before and thought these were comparable. Having just lost a roll of film that was intended to be the second of three sets of exposures, I'm certainly not going to be able to go back and re-take the missing shots. Glad you were able to.
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Geoff Chaplin replied:

Comment posted: 20/09/2025

Thanks Gary. I agree the similarity surprised me - I intend to do some side by side tests M3/Delta vs A7Riii.

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Gary Smith replied:

Comment posted: 20/09/2025

I lost a roll that was in the M3 fitted with the Brightin Star 28/2.8. I could shoot the Brightin Star on my a7R3 and toss those into the mix but I had hoped to compare the Zeiss Biogon 28 on film against the Brightin Star on the same film with the same shots. I'm not sure that putting the Brightin Star on my M-to-E adapter would be a fair evaluation since the Voigtländer adapter allows additional close focus adaptation.

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Jeffery Luhn on Underground 3: retakes on HP5+

Comment posted: 20/09/2025

Geoff,
Yes, your highlights are blown out, but could better scans help? There still may be detail in there.
The more I use HP5+, the more I like it. In the 1970s- through 1990s, I used Tri-X as my ISO 400 film and was never satisfied. During that time I used D-76 1:1. The results were often flat with lots of grain. Results from Plus-X, however were stellar. I rarely shot 35mm B&W during those days, although we did use short loads of Panatomic X for head shots with strobes. Fine grain, of course.
When I took up B&W again a few years ago, the school was buying Ilford value packs with two rolls of HP5+ and 25 sheets of multigrade paper. Each student got 4 packs for free. Being the instructor, I jumped into 35mm HP5+ and HC-110 dilution B. Wow, I was impressed. It was about the same as Kodak Plus X. I usually shoot HP5+ at box speed unless the lighting is contrasty, and then I go to 320 or even 200 and pull back on development. I also use HP5 for 120 and 4x5. Occasionally I'll use Pyro if the contrast is super high.
Of course the locations you shot have extreme highlights from the wall lighting, but I'm thinking that those highlights still may be printable unless the film was over developed. What developer and times were used?
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Geoff Chaplin replied:

Comment posted: 20/09/2025

Thanks again Jeffery. Rodinal 100:1 semi-stand. The only other developer2 I use nowadays are PMK (which would have required another stop of exposure) or one of Anschell's divided developers. I guess lots of experience with FP4 and generally a preference for finer grain influence my feelings about HP5.

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Louis A. Sousa on Underground 3: retakes on HP5+

Comment posted: 20/09/2025

Great stuff Geoff. I commented to a friend this week about my ability to get sharp handheld shots using a Panasonic G9II and VR lens at 1 second. What a tech evolution. With a rangefinder, and something stabilizing my body and a good deep calming breath I would say 1/15th is about my limit. To go slower I would probably look for something relatively level to rest the camera against or on top of. I really enjoyed this series showing the advanced skills of forbears in tunneling and masonry..
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Geoff Chaplin replied:

Comment posted: 20/09/2025

Thanks Lois. I think I'm pretty much the same with handheld - digital too, 1sec sharp exposure with an A7Riii and 50mm lens.

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Russ Rosener on Underground 3: retakes on HP5+

Comment posted: 22/09/2025

At the risk of criticizing the chef in his own kitchen, I believe you've missed the point. I was just reading Andrea Monti's interesting article on using digital cameras for monochrome work. I have done plenty of B&W conversions of my own work and feel usually monochrome film is the best answer.
Sure some of these shots have crushed shadows and blown highlights. Others have a very good tonal range.But the point is these feel like a journey into the underworld, as they should! A photograph is more than the sum of its parts. It is a creative interpretation of reality. Not reality itself. The small handheld 35mm camera with fast black an white film is the epitome of that first person point of view. If you're going to drag a tripod and spot meter down into the underworld then you may as well drag a view camera along with you. Technically the images would be perfect. But would they be evocative of anything other than technique?
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Geoff Chaplin replied:

Comment posted: 22/09/2025

I completely agree but that simply wasn't the point of the exercise. As a comparison of scanned film (albeit film I don't like much) and digital the resulting images have similar faults. Film was just a lot more fun.

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Ibraar Hussain on Underground 3: retakes on HP5+

Comment posted: 23/09/2025

Another excellent set of atmospheric photos
Masterfully done as usual Geoff !
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Geoff Chaplin replied:

Comment posted: 23/09/2025

Thanks again Ibraar!

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