Ilford XP2 Super – The Film That Saved My Photography

Ilford XP2 Super – The Film That Saved My Photography

2800 1575 Charlotte Davis

We all remember our firsts – first school, first best friend, first house. First drink, first car, first job. If you’re a regular visitor to Casual Photophile, you’ll probably remember your first camera. What was it? Something hefty, unbreakable, something from East Germany? My first SLR was that student staple, the Praktica MTL 5B (which Jeb reviewed on the site last year). With a 50mm lens screwed onto the front, it opened up a new world to me – one spent taking photos in empty tube carriages, on my way back from art college in South London at the age of eighteen.

Hanging above our fireplace at home was a black-and-white print of seaweed on a beach, wet printed by my father. I’d always loved that image, and it nudged me along my path to taking the photography course at college in the first place. But at this early stage of my photographic journey, I still considered that making an image like this was a bit beyond my skillset. I had little-to-no darkroom experience, nor access to one, nor development chemicals for processing black-and-white film.

And so, the first few rolls of film that I ever I ruined in my first camera were Kodak ColorPlus, which dutifully recorded pigeons, street signs, and photos of my feet, over which I superimposed song lyrics using a very old version of Photoshop.

Living in suburban Croydon, I didn’t have many photo options other than Boots (a chemist) or Snappy Snaps (a framing shop that begrudged the fact that they sometimes had to process film). Once I’d grasped the basics of photography (60% of shots in focus and correctly exposed, 20% well-framed), I began to explore online to see what other types of film existed. I found a newly-launched website, Flickr, and began browsing the “film photography” tags in earnest.

And then Flickr told me of the existence of Ilford XP2 Super – a black-and-white chromogenic film that can be developed in the standard C-41 chemistry that my local labs used to process everyday color films. I was overjoyed. The discovery of Ilford XP2 Super meant that I could create deep, meaningful (cough) images, and get them back from the local lab in an hour. Sold!

[Sample photos in this article were contributed by Casual Photophile writer Jeb Inge]

Ilford XP2 ended up being the tailwind behind my fluttering interest in photography, owing not least to its unique look – smooth, small-grained images, with a softness that I really enjoyed. With Ilford XP2 Super, I took my first steps toward recreating the images I loved so much; an art film, a fashion shoot, my father’s beloved print of a lump of seaweed – the light playing off the water, the bubbly textures, the grains of sand on the beach.

Just as I moved on from my first tiny car to something that could handle going above 50 mph without shaking itself apart, my photography soon moved on to bigger and better things. Namely, a Canon digital SLR and trusty kit lens. The film camera went away. Why would I bother sending my photos off, or developing them at home when I could reel off as many shots as the compact flash card in my Rebel would allow?

There’s a tendency to sniff at consumer-level DSLRs, but my learning curve during this period was steep – being able to review and improve the images I wanted to make was immediately invaluable. I experimented with long exposure, light trails, sunsets, macro images of flowers, and the family cat. I liberally applied filters, using Hipstamatic to recreate the inky blacks I’d loved so much when shooting Ilford XP2 Super. The move to digital photography had been an important part of honing my skills, but I was often unsatisfied with the end results, however technically correct they were – they didn’t feel as unique as the photos I’d made on film, and I soon lost interest in photography.

As photographers, we often get the upgrade fever, next camera, next lens, but sometimes it pays to remember why we started shooting in the first place. A few years after my cameras had been stored away, I stumbled across the Praktica MTL 5B while clearing out a cupboard. Looking through the viewfinder, I was stunned at how big and bright it was. Compared to the Canon Rebel of my memory I had acres of space to frame my image, and a simple swing needle by which to meter. No lights, no settings, just a stop-down lever on the front.

That day on my way to work, I stopped into Boots and picked up a roll of Ilford XP2 Super and shot it all week, grinning each time the Praktica’s graceless mirror slap echoed in my ears. Without the ability to check how sharp each image was just after I’d taken it, I found myself more focused on looking at the subjects of my images rather than constantly checking the screen. I was less worried about shooting in public generally – after all, the Praktica cost a tenth of the Rebel, and to be honest, if someone tried anything it would have made a handy club.

I gave myself neck ache carrying that camera around for a good few months, rediscovering what had made me pick up a camera in the first place – and much of this is owed to the low cost, low commitment nature of Ilford XP2. I didn’t need to invest in developer, fixer, film reels, a changing bag, any of that nonsense. I could drop my rolls off in the morning and pick them up on my way home, and not sacrifice the joys of making black-and-white images. I wasn’t being paid to take pictures, I was doing it for fun – so why not make it as easy as possible?

Ilford XP2 Super is the film I always recommend to friends who want to try out “serious” film photography (which many people feel must be black-and-white). It’s still not expensive, it’s very forgiving (I’ve seen great results at ISO 100 and 600) and best of all, you don’t need to develop it at home. Black-and-white, buttery smooth images for less than £6 a roll. I’m sure there are photographers who are snobbish about XP2 – after all, it’s not a true black-and-white film. But how many of us have time to hand develop black-and-white film? Or space in our tiny Millennial apartments for a darkroom? Or free time to dedicate to the printing process?

XP2 is truly The People’s Black And White Film – cheap, accessible and plentiful, it’s available in 35mm and 120 formats, and it’s even offered preloaded into Ilford single-use cameras. Without it, I may have given up photography altogether, exasperated by the fact that my digital gear was almost instantly out of date and bored by editing on a computer screen for hours on end. But Ilford XP2 brought me back to a simpler time; thirty-six frames, screw mount lenses, and vague TTL metering. Maybe I’m biased, but I feel there’s no better film stock for new or returning photographers wanting to dip their toe in the waters of black-and-white film photography without committing too much time, effort or money. Long may it continue!

Buy Ilford XP2 Super from B&H Photo

Or search for film from our own F Stop Cameras online shop

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Charlotte Davis

Based in Bristol, transplanted from London, I have been taking photos since I could hold a camera (sometimes I still drop them, but the sturdy ones survive).

All stories by:Charlotte Davis
  • Neither XP-2 nor its Kodak chromogenic brother BW400CN ever really ‘floated my boat.’ I find the look too creamy and to my eyes, characterless. I prefer Kodak Tri-X or for medium speed film, Fomapan 200. I used to really like Plus-X (much more than FP-4), until Kodak dumped it. I am currently working my way through various 100 ISO films, like Silvermax, T-Max100, Delta 100 and I will give Acros 100 a go once it becomes available again.

  • Love your pictures and LOVE XP2, one of my favourite film stocks.

  • I usually shoot XP2 at ISO 320. It IS a great film, for the reasons that you listed.

  • Fantastic and great.
    Thank you so much.

  • Are you sure XP2 is no good for wet printing? I’m pretty sure I’ve wet printed XP2 and it’s come out fine.

    • I’ve edited the article until Charlotte has a chance to chime in.

    • Hi Malcolm! Someone over on IG said this too – I’ve always been told it’s no good, due to low contrast/thinness in the negatives, but I’ve not tried myself. Very happy to be corrected if someone has good experience printing it.

  • Your Photos are great! I never turn my nose up at any film. I’m not a C-41 B&W person, but if you can make it work Fabulous! Anything to support Film!

  • I always carry XP-2 when I travel outside the US. I find a shop/lab to process locally. All of our trips to the UK originate and end in London. Most recent trip was in 2017. Brian & Christopher @ BDI processed 18 rolls of XP-2. Sent back to the US via FedEx.
    Great film. Brian is a gentleman and a great source of photography know how. I understand he has since retired from ‘active’ lab work and merged w/another lab.
    – Dan (

  • A fine post, I enjoyed reading it.
    During these times of movement restrictions and work from home, I had more time to look (on screen) at my old (film) photos, as well as at some very fine photos from current full frame digital cameras. They are getting closer the digitals, but film still looks special to me.
    So I’ll start shooting film again. I have loads of expired C-41 (color) films. And definitely no time to develop BW at home. I like the soft tones of XP2 so I’ll give it a try. Thanks.
    – Emil (

  • Low contrast is good. Easy enough to bump it up a bit in the darkroom,or even Windows photo editor.Hp5 is pretty low contrast,but it comes out of the Epson 370 scanner looking great. Xp2 is so fine grained I don’t feel the need to go to MF (Holga excepted!)

  • I had a dream last night about Ilford chromogenic film, something i only used once on a trip to Hong Kong back in the early 1980’s. This morning i googled it to see if it still existed and found this discussion.

    It was great. My camera was a meterless Nikon F and i shot everything from shots at high noon to neon sign night shots and everything turned out perfect.

    I never used it again because at the newspaper i worked at we shot Kodak Tri-x and processed it in HC110 and developed it in gas burst agitation hard rubber tanks.

    It would seem to just right in this era as i imagine C41 is more common than any other developing option.

  • I used XP2 and would I be right in thinking there was a XP1, when I worked on cruise ships. It was perfect because I had a commercial colour darkroom at my disposal. I then found a way to print it on colour paper and get monochrome as near as was possible. I’ve also printed it in my B&W darkroom at home.
    I found it a bit gutless until I tried TriX and didn’t like the grain and went back to XP2.

  • But why would you shoot XP2 and pay for each roll to be developed if one can develop B/W for peanuts at home very easily?
    No need for a darkroom either if you just hang a towel infront of the window and do it at night.

  • Eblana Pike-Parsons August 30, 2021 at 6:30 am

    Hi Charlotte,
    Just came across your article and was intrigued by it. Really impressed with your photos and as you’ve extolled the virtues of Ilford XP2 I shall give it a go on 120 film as I’ve been a convinced HP5 and Fomopan user for many years.
    Many thanks,
    Eblana Pike-Parsons
    Active in London

  • I love this film! In fact I’m just about to upload some shots I took recently with it to my blog. It’s so fine-grained for a 400 film! I started shooting this film in the 2000s when I was a student in London and I kind of fell out of film photography about 2004. I didn’t really pick it up in earnest again until this February, and this film is one of the first things I reached for. Ilford XP2 super saved my photography too!

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Charlotte Davis

Based in Bristol, transplanted from London, I have been taking photos since I could hold a camera (sometimes I still drop them, but the sturdy ones survive).

All stories by:Charlotte Davis