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Gear›Film
Kodak Tri-X 400
Film

Kodak

Kodak Tri-X 400

In production since 1954, Tri-X 400 is a black-and-white film whose grain structure, broad exposure latitude, and response to push processing made it the dominant film in photojournalism and street photography for decades.

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Artists who use this(12)

William Eggleston

Connection note

Eggleston used Kodak Tri-X for his early black-and-white work before moving to color; documented in retrospective accounts of his practice.
Josef Koudelka
Josef Koudelka

Connection note

"Gypsies" (1975) and the Prague 1968 work were shot on Tri-X; the film's latitude allowed for the available-light conditions and rapid, unplanned shooting that characterize his documentary work.
Book ↗
Helen Levitt
Helen Levitt

Connection note

Levitt's black-and-white street photographs were shot on fast film stock to allow available-light photography without flash; Tri-X provided the grain and latitude her low-light, fast-moving street subjects required. Her film choice is documented in technical notes accompanying her MoMA and Fogg Art Museum retrospectives.

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Last updated March 20, 2026

Lee Friedlander
Lee Friedlander

Connection note

Friedlander's black-and-white work was shot primarily on Tri-X; the film's latitude suited his practice of photographing in varied lighting conditions on the street.
Website ↗
W. Eugene Smith

Connection note

Smith's black-and-white photo-essays were shot on Tri-X, which he push-processed to achieve the high-contrast, deep-shadow aesthetic of his Life magazine essays. His film and processing choices are documented in his technical notes at the Center for Creative Photography.
Book ↗
Robert Capa
Robert Capa

Connection note

Capa shot on fast black-and-white film stock throughout his war photography career; Tri-X and its predecessors provided the speed needed for available-light combat photography.
Website ↗
Nan Goldin
Nan Goldin

Connection note

Goldin's intimate documentary photography was shot on color and black-and-white film, including Tri-X for her early work. Her material choices are documented in "The Ballad of Sexual Dependency" (1986).
Bruce Gilden

Connection note

Gilden's black-and-white New York street work was shot on Tri-X; he has discussed the film's grain and latitude in interviews about his flash-lit, close-range approach to street photography.
Interview ↗
Daido Moriyama
Daido Moriyama

Connection note

Moriyama's high-contrast, grain-forward aesthetic was built on Tri-X pushed in development; he has discussed the film in interviews about his practice from the 1960s onward, and its grain is a deliberate formal element in his work.
Book ↗
Mary Ellen Mark
Mary Ellen Mark

Connection note

Mark's black-and-white documentary photography was shot primarily on Tri-X; she discussed the film in interviews about her working process.
Interview ↗
Sebastião Salgado
Sebastião Salgado

Connection note

Salgado's black-and-white documentary work was shot on Tri-X and other fast films during his film-based decades; his grain-forward aesthetic is built on these materials.
Book ↗
Michael Kenna
Michael Kenna

Connection note

Said "I use black and white film. For the most part, I use Kodak Tri-X."
Website ↗