Apart from the following notes relating to early Kodak black & white products, Michael Talbert has also provided a considerable amount of historical information on the early Kodak & Agfa colour printing processes.

Links to download Kodak catalogues containing information on black & white materials, can be found near the top of this webpage.
A Kodak publication from September 1980 that, during the first 30 pages deals with Developing, Printing and Enlarging black & white films, can be downloaded here.

INDEX

1. Kodak’s Black & White printing papers, grading and nomenclature, pre & post 1946
   Kodak Papers 1949 and 1959
   
2. Velox ~ contact printing paper
   Printing Out Paper; P.O.P (Albumen)
   Kodak 'Solio'
   Velox Paper Contrast Grades pre-1920 to 1968
   Velox Paper Surfaces and Grades in 1939
   Nepera Chemical Company
   Velox Developer
   Velox Paper Packaging 1946 onwards
   
3. Bromide Papers, incl. Nikko and Royal Bromide Papers
   Bromide Paper; 1905
   Kodak Platino Matt Rapid Smooth Bromide; pre-1911
   Nikko Paper; c1921
   Information and Prices of Bromide Papers in 1922
   Various Bromide Paper Packagings, 1930-1970s
   Kodak Nikko Soft Grade Paper, c1930
   Bromide Paper Code Table, 1939 (and 1935)
   Kodak Bromide Papers BV-4 and BRW-4 Z; c1937
   Kodak Bromide Papers BRTF-1 Z, BRIWF-2 Z, BG-2, BV-2, BBS-2; c1938 to c1946
   Kodak 'Nikko' Bromide Paper, Extra Contrast, BG-5; c1940
   Sealing Labels From Packaging Showing Code Changes; 1946 - 1950
   Bromide Instruction Sheets, 1938 to late 1940s
   Kodak Bromide Paper WSL 1.S; 1947-1949
   Packaging Colour Change From Brown/Grey to Yellow, WSG 2.S and IFL 2.D; c1953
   Bromide Instruction Sheet 1952
   Whiter White Paper Base, Advert; 1953
   Packaging Change; Two Offset Rectangles; From 1959
   Packaging Change; Horizontal Red and Black Bar; From mid-1960s
   Bromide Instruction Sheet 1967
   Packaging Change; Large Red Rectangle; From mid-1970s to 1982
   Bromide Air Mail and Foil Card Papers
   Extreme Contrast Grades
   Soft Grade 1 and Extra Soft Grade 0
   Grade 1 Special Contrast
   Grade 4 Extra Hard
   Royal Bromide ~ Bromide Royal
   Two Early Prints on Royal Bromide Paper
   Bromide Royal Paper from 1946
   Libra paper
   Bromesko Paper
   Bromesko Trial Packets of Paper
   Various Bromesko Paper Packagings
   Bromesko Instruction Sheets; 1947, 1950 and 1953
   Bromesko Packaging dating from the late 1950s
   Bromesko Packaging from the early 1960s
   Bromesko Instruction Sheet; 1964
   Bromesko Packaging from the mid-1960s
   Bromide and Bromesko Silk surface paper
   Royal Bromesko
   Instructions for Bromesko Royal Paper, May 1967
   Royal Bromesko Packaging 1962 to mid-1970s
   Bromide, Bromesko, Veribrom, Velox Instruction Leaflets (downloadable pdf files)
   Bromide Transferotype
   Kodak Bromide Finisher Paper

1. Black and White Developers
   Silver Halide Developers and Dichroic Fog
   Kodak 'Special' Developer
   Kodak D-163 Developer
   Kodak DK20 Developer
   Kodak D61a Developer
   Kodak Microdol-X
   Various Black and White Developer Packaging
   Kodak D76 Developer
   Kodak Dektol Developer
   
2. Roll Films and 35mm
   Flammable Nitrate to Acetate Safety Film Base
   Film Introduction Dates
   Film Speed 'Safety Factor' in the 1930s (until mid-1960)
   Plus-X Roll Film
   Plus-X Pan Professional Roll Film in multi-film packs
   Instruction Sheet for Panatomic-X, Plus-X and Super-XX 35mm Films
   Super-XX 35mm film in the UK
   Super-XX 35mm and Roll Film in the USA and Transition to Tri-X
   Verichrome, Plus-X Pan Professional and Tri-X Pan Roll Films
   Tri-X roll and 35mm films in the UK from 1955 to 1971 (not incl. motion picture films)
   Tri-X Film Availability Chronology
   220 size Tri-X
   Technical Pan Film 2415 and Technidol LC Developer
   Sheet Films
   Plus-X, Plus-X Pan and Plus-X Pan Professional Sheet Film
   Panchro-Royal Sheet Film (to Royal-Pan to T-max 400 or Tri-X Professional)
   Side Printed Expiry Dates
   Tri-Acetate to Estar Thick Base for Black & White Sheet Films in the UK
   Super-XX Sheet Film in the UK
   Super-XX and Panatomic-X sheet films
   Super Panchro-Press Sheet Film
   Commercial Ortho Sheet Film in the UK
   Commerical Ortho History
   
3. Darkroom/Graphic Arts Films/Paper
   Kodak Fine Grain Positive Film (as manufactured in the UK from the mid-1930s)
   Positive Film: History, Use & Chronology
   Kodak Commercial Fine Grain CF.8 Film
   History of the film in the UK
   Kodaline Standard Films, KS3 and KS5
   Kodagraph Ortho Film KO5 and Kodak Reproduction Film 2566
   Eastman Kodagraph Projection Standard Paper
   Kodak 84 Projection Document Paper, Medium Weight
   
4. 'Negative Card' paper and the 'Jano While-U-Wait' Camera
   
5. X-Ray Films
   Kodak Blue Brand Medical X-Ray Film
   Blue Brand Ultra Speed

In the early 1970s Michael Talbert had worked as a black and white/colour printer/general studio assistant for a photographer who had used Kodak bromide papers since around the time of the 1946 paper codes changeover. He had a bookcase full of old Kodak paper boxes in which he stored his negatives, some of which had both codes printed on the labels. That’s what got him interested in the old codes for paper, and he decided to find out more.

Kodak VELOX paper was a very slow printing paper, producing a blue-black image, suitable for contact printing only, where the negative is placed in contact with the paper to produce a print of the same size. Kodak discontinued the manufacture of Velox paper in 1968. By way of example of its coding names, before & after 1946: Velox WVL 3 S = White Velvet Lustre, Hard, Single weight. Pre 1946: V V 3 = Velox Velvet Vigorous, single weight.

Kodak BROMIDE, BROMESKO and ROYAL BROMESKO papers were fast enlarging papers, suitable for use with any type of black and white enlarger. They could also be used for contact printing.
Bromide paper gave a neutral black image.

Bromesko produced a warm-black image. Its first mention is in the British Journal Of Photography Almanac for 1938, within the Kodak Adverts. About 1940 it was available in 6 surfaces, and by 1946, when Kodak changed their coding system (see below), it was available in Glossy, Velvet, Matt, Rough Lustre, and Fine Lustre. Later there was a Cream base, coded CFL 3D; a brownish red colour base, like a sepia toned print. The paper was also made on White and Ivory (a yellowish white) bases.
Both Bromide and Bromesko papers were replaced by other enlarging papers, some with resin-coated bases, by 1982.
Christophe Dorney emailed (March 2015) to let me know that in the UK (and now EU) the Bromesko trademark was file registered, by Kodak, on 11th June 1936 (serial no. 572853).

Kodesko is another paper Michael Talbert has found reference to. It was a warm toned paper manufactured by Kodak in the 1930s, before Bromesko. It was unusual in that it had a parchment-like quality and was semi-translucent. The 1933 Kodak Professional Catalogue states that prints could be mounted onto a light coloured backing paper. When the print was held over a light, it “glowed”, taking on the tones of the backing paper. Maybe that is where the name Bromesko originated.

Royal Bromesko paper was introduced in 1962 and discontinued in the late 1970s. It was an enlarging paper giving a warmer image tone by direct development in Kodak D-163 developer than Bromesko paper processed in the same developer. For maximum warmth, Kodak “Royal Bromesko” developer produced an almost brown and white image on Royal Bromesko paper. It had a slightly lower printing speed than Kodak Bromide or Bromesko papers. It could be handled under a Wratten Safelight filter Series OB.

VELOX, BROMIDE and BROMESKO; Naming & Grading Pre-1946

Prior to 1946, Kodak’s grading system and paper nomenclature were a complete muddle !
The grades for Velox and Bromide were different. The naming system and grades for Bromesko were different to that of Velox and Bromide. And at that time smaller packets of paper were sold by weight, not quantity.
12 sheets of quarter plate was roughly the same as 7 sheets of half plate. Larger sizes and boxes were sold in dozens and half-dozens.

By way of example of coding names, before & after 1946: Bromesko CFL 2 D = Cream Fine Lustre, Normal, Double weight. Pre-1946: 47 Z = Cream Lustre, Medium, Double weight.
Bromide WSM 1 S = White Smooth Matt, Soft, Single weight. Pre-1946: BBS 1 = Crayon Black, Soft, Single weight (BBS 1 = Bromide Black Smooth, 1 = soft grade). White Smooth Matt was a completely smooth dead matt paper and Crayon Black was the nearest pre-1946 equivalent surface.

NIKKO is an early trade name for Kodak Glossy Bromide paper (in the UK). It is uncertain when the name Nikko dates from, but it is listed under Bromide papers in a Kodak 1923 catalogue. It is believed the name is pre-WW1, if not earlier. For example; Nikko BG2 = Bromide Glossy Grade 2 (medium) single weight.

Contrast Grades for Kodak Bromide papers, early 1940s (as far as Michael Talbert can establish) were:
Soft = Grade 1
Medium = Grade 2
Contrast = Grade 4
Extra Contrast = Grade 5. This Grade 5 was used for negatives which were very soft, or grossly underexposed.
Grade 3 = “Vigorous”, was only made in “Velox” paper at that time and Kodak Bromesko paper had a different grading system.

Contrast Grades after 1946. Kodak changed their coding system relating to paper grades, types of paper surfaces, for Bromide, Bromesko, and Velox papers in 1946. Nikko BG2 then became Bromide WSG 2S = White, Smooth ,Glossy, 2 (Normal Grade), Singleweight. The new coding system for Bromide, Bromesko and Velox papers stated Tint, Texture, Surface, Contrast Grade No. and Weight, in that order.

Extra Soft = Grade 0; Only made in Velox Paper at this time.
Soft = Grade 1
Normal = Grade 2
Hard = Grade 3
Extra Hard = Grade 4; Only made in Velox and Bromide paper at this time.
Much later these grades were joined by an “Ultra Hard” Grade 5 and a “Special” Grade. Special Grade had a contrast between “Soft” and “Normal” and was made in glossy paper only. The code for Bromide Glossy paper was WSG 1SpecialS or WSG 1SpecialD (single weight and double weight, respectively).

In 1948-9 paper packing quantities were standardized to 10s, 25s, 50s and 100s (rather than by weight or in dozens or half-dozens of sheets) and Kodak changed their system so that all surfaces and grades matched for Bromesko, Bromide and Velox papers. The coding system was e.g. Bromide, White Velvet Lustre, Normal Double Weight = Bromide WVL 2D. The pre-1946 code was BV 2Z, Bromide Velvet Medium Double Weight (the letter Z was used to indicate Double Weight).

Kodak Papers, 1949 and 1959
To download a 44 page UK Kodak booklet, 1949 3rd Edition, entitled Kodak Papers, describing all data and techniques relevant to achieving the highest quality black & white print, click here.

Kodak VELOX paper
A very slow 'Development' printing paper, producing a blue-black image, suitable for contact printing only, where the negative is placed in contact with the paper to produce a print of the same size. The negative to be printed was placed on top of the emulsion side of the paper and in contact with it. Special contact printing frames were made which held the negative and paper in close contact under a piece of glass. The exposure was made by holding the printing frame up to a bright tungsten light, or daylight, for a few seconds. The paper was then developed, fixed and washed to produce a contact print with a slightly bluish black image.

Velox Paper was first manufactured by Dr. L. H. Baekeland in 1894. It was a slow, silver chloride paper which could be handled before exposure even under weak electric light or yellow gaslight. In a photographic darkroom it could be handled under a bright yellow safelight. It later became known as “Gaslight” or “Contact “ paper. In 1899 George Eastman of the Kodak company bought the Velox process from Dr.Baekeland, and started to manufacture Velox paper in the U.S.A.

Prior to 'Development' paper, contact printing was carried out using paper that darkened naturally when left exposed to daylight. This 'self-darkening paper was originally known as 'Albumen' printing paper, but became commonly known as:
Printing Out Paper or P.O.P
P.O.P was coated with Albumen, which was mixed with ammonium chloride and silver nitrate. It was manufactured from approximately the 1850s until the appearance of the “Development“ papers (e.g. Velox) in the 1890s. A description of Albumen paper was first published in 1850 by Louis-Desire Blanquart-Everard.

P.O.P (Albumen) paper was exposed to daylight via a glass negative plate, the two being held in close contact within a contact printing frame, as already described above. Upper-most within the wooden contacting printing frame would be the frame's glass and beneath that was placed the glass negative plate. A sheet of Albumen paper, emulsion side in contact with the glass plate, came at the bottom of the frame and finally the wooden back of the printing frame was attached to hold the paper and negative plate firmly in contact under spring pressure. In the middle of the wooden back would be a hinge, so that part of the back could be opened to look at the image appearing on the P.O.P. without disturbing or releasing the pressure on the other part. Thus, if the image was still too light, the lifted half of the back could be hinged down again and the exposure continued without any risk of having disturbed the registration between the paper and the negative.

Unlike 'development' Contact paper, which was exposed only briefly to bright tungsten light or daylight, the printing frame with P.O.P was placed on a window sill facing the sun, or in strong daylight, for a significant length of time. Every quarter of an hour, or less in bright sunlight, the back of the frame was opened to check on the density of the image on the Albumen paper. When the print was judged to have the correct density, the paper was removed from the frame and placed in a bath of plain “Hypo” ("Fixing") solution. "Hypo" is an old fashioned term for Sodium Thiosulphate (Na2S2O3), originally known as sodium hyposulphate. In this bath of “Hypo” the silver that had not been exposed to daylight and therefore had not turned grey or black during the exposure, were chemically converted into soluble silver salts that could be washed out of the paper (hence, "fixing" the image). During this "Fixing” process, the print usually became lighter in tone and so most pictures were exposed until slightly too dark, before being taken out of the printing frame and being placed in the Hypo.

After the paper was washed for half an hour to an hour, most prints were then toned in “Sepia Toner”, which gave a rich brown colour to the image and also made the image even more permanent. Sometimes the toning process was done before fixing. Contact Printing with Velox paper was much faster, more reliable, and the extra toning procedure was not required.

Despite the arrival into the market of many types of Bromide, Contact, and Chloro-bromide "development" papers, P.O.P remained on the market until the mid 1950s.

Kodak 'Solio'
Kodak 'Solio' was one of the last P.O.P papers, a glossy single weight paper which gave tones from purple to red. The paper could also be “gold toned”, in a bath of gold-sulphocyanide, and then fixed in a plain Hypo bath (Ref: “Kodak Papers”, booklet, 1949).

Date	Contrast Grades Available	Comment
pre-1920	There may have been just one contrast grade of UK made Velox paper. Two packets of early Velox, both by the Eastman Kodak Company, have been seen: 1) with the date of March 1918 and the label 'Special'. 2) with the date of March 1908 and the label 'Regular'. An instruction sheet by the Nepera Division, Eastman Kodak Company, undated but believed to refer to the pre-1920 papers, tells us: Velox is made in two speeds (contrast grades ?), Regular and Special. 'Special' – Any negative that gives a good result with 'Printing Out' Paper should be printed on 'Special'. 'Regular' – Intended for negatives lacking in contrast.
1920 - 1935	1922; Grades Soft and Vigorous 1923; Grades Soft and Vigorous 1926; Grades Soft, Medium and Vigorous 1929; Grades Soft, Medium, Vigorous and Contrast 1933; Grades Soft, Medium, Vigorous and Contrast 1935; Grades Extra Soft, Soft, Medium, Vigorous and Extra Contrast
1935 - 1940 (the grades were first numbered sometime between 1935 and 1940)	VG-0; Glossy Extra Soft VG-1; Glossy Soft VG-2; Glossy Medium VG-3; Glossy Vigorous VG-5; Glossy Extra Contrast	Other surfaces, also in 5 grades: VV-O, VV-1, VV-2, VV-3, VV-5 = Art, Semi-Matt surface. VM-0, VM-1, VM-2, VM-3, VM-5 = Carbon, Matt surface. Glossy & Art surfaces also available in Double Weight paper, where 'Z' after the code denoted Double Weight e.g. VG-2Z = Glossy, Medium, Double Weight.
1946	Extra Soft Grade 0 Soft Grade 1 Normal Grade 2 Hard Grade 3 Extra Hard Grade 4	New nomenclature for Kodak UK made papers. It is unlikely these contrast grades were matched to the 1935 contrast grades.
In the date range 1954 - 1957	Grade 4 Extra Hard was replaced by Grade 5 Ultra-Hard	This replacement took place sometime between September 1954 and October 1957.
1957	Extra Soft Grade 0 Soft Grade 1 Normal Grade 2 Hard Grade 3 Ultra Hard Grade 5	As stated in the Kodak Professional Catalogue for October 1957. They remained available from 1957 to 1965
1959	Grades 0 - 5	8 sizes of paper available
1964	Grades 0 - 5	3 sizes of paper available
1965	Grades 0 - 5	Last year of manufacture of Grades 0 and 5. One size of paper available.
1966	Grades 1, 2 and 3 only	Grade 4, which was omitted sometime during 1954 - 1957, was never reinstated.
1968	Velox paper withdrawn from the market

References:
Kodak Photographic Apparatus and Materials, 1935; 'Kodak Papers' handbook, 1947; Kodak Catalogue Section 3 'Kodak Sensitized Papers', 1954
Kodak Professional Catalogues, 1957, 1964, 1966 & 1968; Kodak Dealer Catalogues, 1959 & 1965.

 This very early packet of Velox paper has been manufactured by either “The Nepera Chemical Company” or by “Eastman Kodak Company” of Rochester, New York.

Nepera Chemical Company
The Nepera Chemical Company was established by Leo Baekeland and Leonardi Jacobi in 1893 in Nepera Park, Yonkers, New York, for manufacturing Velox Paper. Velox Paper was one of the first photographic papers to require a chemical solution, (developer), to produce an image on the paper.

In 1899, Leo Baekeland met George Eastman, founder of the “Kodak” company, who paid him $1M for the Velox paper process. From then on, the Eastman Kodak Company, and later, Kodak Limited London, manufactured Velox Paper.

In the case of this packet, it is difficult to ascertain as to whether the paper was manufactured by the Nepera Chemical Company or the Eastman Kodak Company as both names appear on the packet. It may have been produced at the Nepera Chemical Company a few months after the Eastman Kodak takeover, possibly around 1899 to 1900.

The paper could be handled and worked in a yellow light, similar to the colour given by 'Towns Gas' burnt in gas mantles i.e. the “Gaslight” of the time. At that time, early 1900s, there was no Safe light filter made specially for Velox paper, though by the 1920s Kodak were producing a “Wratten Series 00, a clear yellow, for slow lantern plates and gaslight papers”. (Ref: Kodak Professional Catalogue, 1923.)

There were no Contrast Grades, such as Hard, Normal, Soft etc., although the 'Glossy Velox' sealing label states 'Enameled for contrasty effects'.

The green sealing label also states on the underside that “You should use no other developers that those described in the enclosed directions”. It also warns the user about lack of Bromide in the developer and oxidized developer giving greenish or brownish blacks in the print.

This Velox post card packet (5½ x 3½ inches) is shown by courtesy of Stuart Allen. It is difficult to know its correct placement within the Velox chronology, but this packet and the following one most likely date prior to 1920.

As with the packet below, its manufacture is attributed to Kodak, Limited, London, though still with the Nepera Chemical Company trade mark. Possibly the agreement between Nepera and Kodak required Kodak to continue showing the Nepera trade mark for a certain period of years after 1899.

The area of sensitised material, summing the 12 sheets of quarter plate (in the packet below) and the 12 postcard sheets in this packet, are very similar, so the price comparison of 1s/3d (6.25p) suggests both packets date from a similar time, though the packaging itself apparently dates from an earlier time when 14 postcard size sheets were being sold for just 1s (a 30% lower price). The font used for 'Velox Post Cards' is also unusual and looks older.

Michael Talbert reports that the grade 'Vigorous Carbon' appears in the Kodak UK Professional catalogue for 1923 and there is an entry for 'Velox (Gaslight) postcards in Vigorous Carbon, but it is 9 cards for a shilling (25% more expensive than 12 for 1s/3d). In another list of Velox paper, the Double Weight section, 11 postcards 5½ x 3½ inches are priced at 1/3d. There is no price for 12 cards in the 1923 catalogue.

This packet of Velox Paper (as the one immediately above) clearly states that it is now being made by Kodak in London, which tells us it is very probable that by this time Kodak had set up a production line for Velox paper in the UK. The price was 1s.3d, (=6 newpence) for 18 sheets. By 1923, the price had been held, but the paper was now sold in packets of 17 sheets for 1s (1 shilling=5 newpence).

Although the sealing label is missing, the packet contains paper of a “Velvet” surface, termed in those days as “Art”, or “Semi-Matt”. There is no back printing on the paper.

On the left hand side of the label on both packets it states “500 times quicker than Albumen”, signifying how much shorter an exposure to light this 'development' paper required compared to the former Printing Out Paper (5seconds x 500 = 40minutes !)

Kodak made a Safelight filter specially for Velox paper, the Wratten Series OO. It was bright yellow, so much too bright for Kodak Bromide papers. Kodak Bromide papers were about 100 times faster than Velox paper and, although Bromide paper could be used for contact printing, Velox paper was useless for making enlargements (the exposure to enlarger illumination would have being too long). However, in the 1950s, certain types of Velox paper were manufactured specifically for making En-prints using enlarging equipment, such as “Projection Velox paper”, but the speed of the paper never matched Bromide paper.

Four packets of Velox paper dating from the early 1920s. The Nepera trade mark has been replaced by a Velox trade mark.

At this time Velox paper was being sold in two contrast grades. Taken from Velox paper instruction sheet, dated 1922.

1. VIGOROUS - for use with negatives of weak contrast.
   Paper types: Art (vigorous) semi-matt surface; Carbon (vigorous) smooth matt surface; Glossy (vigorous).
2. SOFT :- for use with negatives of average or strong contrast.
   Paper types: Art (soft) semi matt surface; Carbon (soft) smooth matt surface; Glossy (soft).

In the early 1920s a “Special” grade was available for Normal or Contrasty negatives. In 1923 it was sold as “Special Portrait”, a smooth matt surface.
There was also a paper at that time known as “Royal Velox”. This had a Cream coloured base (almost sepia), and a smooth surface, possibly close to a semi-matt, and was only available in double weight thickness.
(Reference: Kodak Professional Photographic Apparatus and Materials Catalogue, 1923)

The 1933 equivalent catalogue no longer lists “Special Portrait” or “Royal Velox” papers.

By 1926 an additional grade of “MEDIUM” was available and a Velox paper instruction sheet for 1926 suggests the medium grade was recommended for negatives of average contrast. “SOFT” grade paper was now recommended for negatives of strong contrast. In 1926, MEDIUM grade was available in Art and Glossy surfaces.

Alongside are shown three packets of Velox paper dating from the 1920s showing the “new” Medium grade in Glossy and also the back labels of the Semi-Matt surface paper; one of Medium grade (for "average negatives") and one in Vigorous grade (for "flat negatives").

By the 1930s, codes for the various surfaces and grade numbers had appeared. The Velox trade mark has been replaced (on the older two packets) by a Kodak trade mark

The oldest packet in this picture is VG-2 = Velox Glossy, (grade) 2. This packet dates from the 1930s.

VG-3 dates from the late 1930s or possibly the 1940s. VG-1 dates from the 1940s.

VG-1 = Soft contrast.
VG-2 = Medium contrast.
VG-3 = Vigorous contrast.

They are all single weight paper. The double weight code would be e.g. VG-2Z = Velox Glossy, (grade) 2, double weight.

Another grade is listed in the 1933 Kodak Professional Photographic Apparatus and Materials catalogue. Known as “Contrast”, this grade was recommended “for very flat, lifeless negatives”.
It was available in Art, Glossy and Carbon surfaces and a code e.g. for the Glossy paper would have been VG-4.

In 1933, 17 sheets of Velox single weight paper , as the two packets in the picture, would have cost one shilling (5p).
The VG-1 box of 144 sheets of 3½ x 2½ inch paper, would have cost 4 shillings and 5 pence (approximately 22p).
The exact equivalent paper to this box, but in a later style yellow packet, is shown at the bottom of this Velox section, coded Velox WSG 1S.

Velox Developer
In the picture above there is a small packet of “Velox” developer which contains two components – a blue packet and a white packet. To make up the developer the instructions state to shake the contents of the blue packet into 4 ounces of cold water. When dissolved, add the contents of the white packet.
Additional instructions state: “For soft or special Velox, dissolve as described above but use 8 ounces of water. Use at 65°F.”

A “Velox” paper instruction sheet from 1922, which was enclosed in every packet of paper, suggests the use of Velox developer, either by making up the formula from raw chemicals, or by obtaining the Kodak “made–up” chemicals. The Kodak 1923 catalogue lists Velox developer in liquid or powder form. “Velox Concentrated Developer” was priced at 5 shillings (25p) per gallon for the liquid form, and a packet to make up 1 gallon from powder was the same price. A ½ gallon size to be made up from powder was 2 shillings and 9 pence (14p).

Both the liquid developer and the powder developer, when made up, had to be further diluted with two to four times their volume to make the working developer solution. It is odd that three instruction sheets for Velox paper, dating from the 1920s and 1930s, give no times of development for Velox paper. “How To Make Good Pictures”, a Kodak book published in 1927, suggests 25 to 30 seconds for Medium and Vigorous grades of Velox paper, and 40 to 50 seconds for Soft and Special grades of Velox paper.

In 1969 the author developed Kodak Bromide paper in Velox powder developer. The developer gave the Bromide prints a slightly colder tone, tending towards a bluish black compared with a normal recommended Bromide paper developer, such as (in those days), Kodak D-163 developer (see below). The instruction sheet, dated 1961, from the tin of Velox developer that the author used, suggested 1 minute development time for Bromide papers at 68°F, and 40 to 90 seconds for Velox paper at the same temperature. The developer was made up as a stock solution to be diluted 1 : 1 with water to make a working solution..

The Kodak formula for D-158 is almost identical to the packaged version of Velox developer.

As far as is known, Velox developer was manufactured by Kodak (in the UK) up to 1969. A Kodak Professional and Graphic Arts catalogue for November 1969 lists 'Kodak Velox Developer Powder' to make 80 fluid ounces at 5 shillings (25p). The developer is not listed in a Kodak (UK) Products price list for September 1970.

Packets of VV-3 Velox Velvet Grade 3 Vigorous and VG-3 Velox Glossy Grade 3 Vigorous.

The left hand packet of VV-3 dates from the 1940s, with “Kodak” printed in red. The right hand packet is slightly older and gives a good example of the paper being sold by weight, hence resulting in the odd quantity of 17 sheets in the packet !

”Velvet” had a slight surface texture with a very slight gloss finish. The “vigorous” grade was for printing with soft, low contrast negatives.

The “Velox” coding system before 1946 is believed to have been similar to the Kodak Bromide paper codes.

By 1946, VV-3 became known as “Velox, White, Velvet, Lustre, 3 (hard grade) single weight”. Code: WVL 3 S
VG-3 became known as ”Velox, White, Smooth, Glossy, 3 (hard grade) single weight”. Code: WSG 3 S.

It is not known if the 'Vigorous' Grade (pre-1946, as shown left) was the same as the contrast of the new 'Hard' Grade (post-1946).

By way of example of its coding names, before & after 1946: Velox WVL 3.S = White Velvet Lustre, Hard, Single weight. Pre 1946: VV-3 = Velox Velvet Vigorous, single weight.

The 'Velvet' surface lasted until the early 1970s, and was then replaced by 'White, Semi-Matt'. Code: WSemi-M.
White, Semi-Matt was available in Bromide, Bromesko and, at that time, the new Veribrom resin coated black and white papers. The two surfaces were not identical.

Velox WVL (Velvet), was replaced by 'White, Smooth, Lustre, (WSL), in the late 1950s. 'Smooth Lustre' surface was devoid of any texture and had a shiny appearance, much like an unglazed glossy print. The surface was very similar, but not identical to, the later Kodak 'N' surface, mainly used for colour printing papers and known as 'Lustre'.

In the 1950s and early 1960s, Velox paper was also available in certain small continental sizes in 'Cream Smooth Glossy (CSG), singleweight', in as many as five contrast grades ranging from 'Extra Soft', (Grade 0) to 'Ultra Hard', (Grade 5). Oddly enough, the paper was not sold in Grade 4, 'Extra Hard'.

WSL and CSG lasted, as best the author can ascertain, until 1963. Then only the 'White, Smooth, Glossy' surface remained until the manufacture of Velox paper ceased in 1968.

Front and Rear Labels.
A box of Kodak Velox paper date stamped March 1948.
It shows one of the earliest sealing labels for Velox paper.
Initially a yellow sealing label was used to denote 'Hard' grade.
This changed to a purple label in the early 1950s.

The post-1946 label refers to code WSG. 3.S
Whie Smooth Glossy Hard (grade) Singleweight.

On the rear label is the pre-1946 'previous code'
i.e Glossy Singleweight Vigorous VG 3.

The box itself dates from pre-1946.

A 100 sheet box of Velox White Smooth Glossy
Grade 0, Extra Soft, Single Weight (WSG. 0.S)
Front of box, left, and edge sealing label below.

These images show the packaging in early 1950s before the change to yellow boxes.

For a time after 1946, most Kodak Bromide, Bromesko, and Velox papers carried labels with both the new codes and the old codes relating to the various surfaces. The picture alongside shows a Velox label of this type.

Velox WSG 1.S = white smooth glossy (Grade) 1, Single Weight
Previously known as Velox Glossy SW Soft = VG 1.

Four boxes of Velox paper dating from the mid 1950s, showing four contrast grades from “Soft”, Grade 1, for high contrast negatives, to “Extra Hard”, Grade 4, for very soft negatives. The author used the Grade 4 paper, and remembers it gave acceptable prints from negatives which were so soft they were considered “unprintable”!

The small Grade 4 box (at the top of the stack of boxes, left) may be extremely rare, as the Kodak catalogue for 1956 shows no Grade 4, only 1,2 and 3 and the 1959 and 1960 professional catalogues show just grades 0,1,2,3 and 5.

Front and Rear Labels.
A box of Kodak Velox paper in 'Extra Hard' Grade 4.
White Smooth Glossy Single Weight, code WSG.
This grade was available until the mid 1950s.

In the 1950s this was replaced by an “Ultra Hard” Grade 5.
Its Glossy Surface code would then be WSG. 5.S. as below.

A 100 sheet box of Velox White Smooth Glossy
Grade 5, Ultra Hard Single Weight (WSG. 5.S).
Front and rear of box, left.

The packaging shows the yellow boxes as were first used between 1957 and 1965.

Bromide Paper; 1905-1910

Quoting from the Introduction to Brian Coe's excellent book 'Kodak Cameras - The First Hundred Years':

"The Kodak presence in Britain had developed from the wholesale importing agency set up in 1885 (under William H.Walker). (This led to) .....the formation of the Eastman Photographic Materials Company in 1889, set up to manufacture and market (George) Eastman's products, (and) taking over the business and markets of the Company outside north and south America. At the factory at Harrow, then outside London, photographic film and paper were manufactured, and the developing and printing of customers' films was carried out".

The Kodak Limited was formed in November 1898 and acquired the business of Eastman Photographic Materials Company, Limited.

Interestingly, Kodak Limited still exists (May 2020). Gavin Ritchie tells me it is company number 59535, incorporated on 15th November 1898. Its original registered office was 43 Clerkenwell Road, London EC but by 6th June 1972 the registered office was Kodak House, Station Road, Hemel Hempstead, Herts. The present day registered office is Building 8, Croxley Green Business Park, Hatters Lane, Watford, Herts, WD18 8PX.

Michael Talbert has an 8-page leaflet dating from the early 20th century (he estimates 1905-1910), not long after Kodak Limited had acquired the business of the Eastman Photographic Material Company. The first two pages of that leaflet are shown to the right. It contains information about Eastman's Bromide, Royal Bromide and Nikko papers, by then being sold under the Kodak, Limited name.

it proclaims:
Kodak, Limited, successors to Eastman Photographic Material Co; Ltd;, 43 Clerkenwell Road, London, E.C.

An image of a Bromide paper packet sent to the author from Auckland Memorial War Museum, New Zealand. Kodak Platino Matt Bromide Paper. Auckland War Memorial Museum Tamati Paenga Hira. EPH-ARTS-2-3.

The image has the Kodak address of 'Clerkenwell Road, London EC'. This was the address of Kodak Limited before the company moved to Kingsway (between Aldwych and High Holborn, London). It seems the building Kodak inhabited at No.63 Kingsway, London was built in 1911. Ref: The Construction Index from May 2021 reads “It was built in 1911 to house offices, store rooms, darkrooms, printing rooms, a shop and warehouse”. It was refurbished by Gilbert–Ash in 2021–22 and is known as “The Kodak” with an entrance from Keeley Street.

Platino Matt Rapid Smooth paper is included in the 1905 – 10 price list (see above) at 3 shillings and three old pence (3s.3d = about 16p). It is not clear if the paper weight is single or double, or if it is the same paper as 'Platino Bromide' paper mentioned in the 1905-10 leaflet (above, right). It is listed in the 1922 catalogue (see below, left) as Platino-Matte, Rapid Smooth. Due to it showing the Clerkenwell address, it is probably safe to assume that this packet dates pre-1911. The date 4.21 on the packet which follows (see below) may mean it dates from April 1921 as this has the Kingsway address on it. Perhaps Kodak started printing the code dates on the labels when they were at Kingsway.

The image below of a packet of a Kodak Nikko Bromide paper packet came from the 'Canterbury Museum' Canterbury, New Zealand. Michael Talbert saw the image amongst other pictures of Bromide packets and the museum agreed it could be reproduced on Photomemorabilia but required it to be acknowledged by way of the reference "Kodak Nikko Bromide Paper, Eastman Kodak Company. Canterbury Museum. Ref: PH/78.19. NZ.

The packet may date from 1921 by virtue of it having B.P.134.10m 4.21 on the label. The numerals 1/3 written on the packet presumably refers to its price when new, being 1s/3d = 15 old UK pence; 6.25 new pence). This is 1.875d (old UK pence) per sheet.

The 1905-10 price list (above, right) shows the same size Nikko paper (6½ x 4¾ inch=½ plate) but offers a dozen, i.e. 12 sheets, for 1s/6d (18 old UK pence). This is the equivalent of 1.5d (old UK pence) per sheet, hence cheaper than the 1s/3d pcket price.

The 1922 price list, below right, shows 7 sheets being sold for 1s (no differentiation between Nikko and standard bromide), which is the equivalent of 1.714d (old UK pence) per sheet; still cheaper than the packet price, but much closer. Since Nikko is listed as being more expensive in the 1905-10 price list than standard bromide (maybe dependent on the amount of silver bromide used when coating the paper), its possible the 1922 price list of bromide papers under-estimates the price for Nikko paper. Also, since there is no indication of the weight of paper that was in the Nikko packet, there is little point in trying for too fine a comparison. The best that can be concluded is that the packet shown here most likely dates from the early 1920s and the (already suggested) 1921 date may be correct.

The 1922 price list (on page 60; see below, left) describes Nikko paper as being "a glossy bromide with a highly enamelled surface. Gives very soft effects. Made in Mauve-White and Pink". The 'Enamel' surface type and 'Mauve-White' colouration, both fit the packet illustrated. The bracketed term (Rapid) after the Nikko name in the 1922 information, suggests a higher silver bromide content.

A box of Kodak single weight 'Nikko' Bromide paper in 'Soft' contrast grade. In the early 1920s the Kodak Professional catalogues described Nikko Bromide paper as “A glossy surface paper for rendering of fine detail. Specially suitable for Press work.” At this time, Nikko paper was made in one contrast grade only and the paper had a slightly mauve tint to the base. A separate Bromide paper with the name of 'Contrast' was obtainable in glossy, velvet, matt, and 'Permanent Smooth', being a semi-matt surface. Contrast paper was suitable for soft, under exposed negatives.

By 1930, three contrast grades of Nikko were available in Soft, Medium and Contrast. The Contrast paper mentioned above was then included within these grades.

It is thought that this box of Nikko paper dates from when Kodak UK bromide papers were first available in three grades and the introduction of sealing labels showing a code for the type of paper surface together with a grade number. Nikko had always been known as a glossy paper and in the late 1930s this paper would have been known as 'Nikko Soft BG-1'. Kodak bromide paper may have been produced in three contrast grades from the late 1920s (perhaps 1929), and sealing labels for papers printed with descriptions and grade numbers may have originated around 1934.

The sealing label has a number printed on it, viz. B4.5430 (see below). The last three figures might refer to the date April 1930. Whether this date surmise is correct, this box of Nikko paper most likely dates within the range 1930 to 1934.

References: Kodak Professional Photographic Apparatus and Materials, catalogues 1923 and 1933.
Kodak Apparatus and Materials for Developing and Printing Works, catalogue 1930.
Kodak book How to make good pictures,1927.
British Journal of Photography Almanac 1931.
Kodak Printing Papers booklet, 1936.

Below is shown a table of Kodak UK Bromide Papers which could be purchased from Kodak in 1939.

The table gives all the surfaces, paper contrast grades and codes with the grade numbers in single and double weight paper. This table is rare because the Kodak UK catalogues give no indication of any codes in the Bromide paper availability lists of the surfaces and contrast grades. The table equally applies to the Kodak Bromide paper availability in 1935, but in 1935 there were no Grade 5 (extra Contrast) papers obtainable apart from 'Nikko' BG-5 and BG-5Z.

(Reference: Westminster Annual of Photographic Accessories 1939.)

Contrast Grades:
In 1923, 'Permanent Rapid' and 'Slow Smooth' were obtainable in Medium and Contrast grades, and 'Rapid Rough' in Medium grade only.
By 1930, the paper 'Permanent Smooth' was made in Soft, Medium, and Contrast grades.
In 1946, the grade names changed to Grade 1, Soft (no change), Grade 2 Normal (previously Medium), and Grade 3 Hard (previously Contrast), and the paper was obtainable in these three grades, single weight, until 1949 and double weight until it was taken off the market.
Bromide Air-Mail and Foil Card were available in Soft, Normal and Hard grades; also the various Royal Bromesko and Bromesko (ISL) paper.
Velox was made with two additional grades, Grade 0, Extra Soft, and Grade 4, Extra Hard.

Kodak Bromide enlarging paper BRTF-1 Z

A bromide paper label dating from the 1940s. Bromide Royal Tinted Fine (grain) – Soft (1) Double Weight (Z).

The base of the paper was a yellowish brown, and gave the impression of a sepia toned print.

'Tinted' and 'Cream' had almost the same coloured base, although the 'Cream' was slightly more red. The 'Tinted' base was only suitable for certain subjects, such as photographs taken under interior room lighting, sunsets, portraiture.

Cream base paper began to look old fashioned by the late-1960s and Kodak withdrew their cream base papers about 1967.

 Kodak Bromide enlarging paper BRIWF–2 Z

A bromide paper dating from the 1940s. Bromide Royal Ivory White Fine (grain) – Medium (2) Double Weight (Z).

This paper was available in double weight only, in sheet sizes up to 20 x 24 inches, and in bulk postcards.
Grades available were: Soft, Medium, Contrast, and Extra Contrast. It was known as 'Royal White' before 1941.

Manufacture ceased after 1946, but the 'Snow White Fine (grain)' and the 'Tinted Fine (grain)' tints and surfaces were obtainable in certain sheet sizes for a few years after 1946.

'Ivory White' was described as a paper “…………..between a cream and a white, and imparts just that warmth of tone to the average enlargement that is sometimes lacking in papers with a mauve-white base”.

The Kodak glossy bromide paper manufactured pre-1946, known as 'Nikko' paper, had a mauve-white base.
The nearest equivalent paper after 1946 was Bromide Ivory Fine Lustre (IFL), available in grades 1, 2, and 3 in double weight only i.e. Normal grade code – IFL 2D.

Three labels from packets of Kodak Bromide paper dating from the late 1940s.

The top label, BG-2, is Bromide Glossy (2), Medium contrast, single weight, known after 1946 as WSG 2S. (White Smooth Glossy, Normal, single weight).

The middle label, BV-2, is Bromide Velvet (2), Medium contrast, single weight, known after 1946 as WVL 2S. (White Velvet Lustre, Normal, single weight).

This label has been altered from a label denoting “Double weight” paper, as the “Z” and “Double weight” has been crossed out. This is typical of paper manufactured during the “change over” period of labeling and quantities.

The bottom label, BBS-2, is Bromide Black Smooth, (2), Medium contrast, single weight, known after 1946 as WSM 2S, (White Smooth Matt, Normal, single weight). Below (scroll down six images) is a photograph of a later label, post 1946, of this surface in Soft grade, WSM 1S.

As best can be determined, Kodak “Crayon Black” Bromide paper was introduced in 1940 in Smooth, Natural, and Rough surfaces.

The British Journal of Photography Almanac for 1941 describes the smooth surface as “An excellent material for medium sized prints which are to be handled a good deal”.

Pre-1940, the paper was known as “Platino Matt Smooth”. In 1946, the name of the paper was changed to “White Smooth Matt” and was available on a single or double weight base in three contrast grades. Bromide White Smooth Matt and Bromide White Velvet Lustre were replaced by a new surface, “White Semi-Matt”, (WSemiM), in 1971.

'Nikko' Bromide glossy paper, in single and double weights, became available in the 'Extra Contrast' grade shown left, here, in 1934.

Extra Contrast was suitable for making prints from very soft, or under exposed negatives.

Initially, the grade was available in 'Nikko' paper only, but by 1938 it had been extended to four other double weight Bromide papers (see Kodak Bromide Code Table, above).

In 1946 the paper was renamed Bromide 'White Smooth Glossy, Extra Hard', (Grade 4) in single and double weights, with the codes WSG-4S or WSG-4D.

This packet may date from 1940, the rear sealing label gives a number – 'P2 15540', possibly referring to May 1940.

All types of Bromide paper were replaced by 'Kodabrome II RC' paper, a resin coated paper, in 1982.

References:
Kodak Professional Photographic Apparatus and Materials Catalogue 1933 and 1940.
Kodak General Catalogue 1935.
Kodak Buyers Guide 1981.
Kodak Handbook for the Professional Photographer, Volume 1, March 1981.

For a time after 1946, most Kodak Bromide and Bromesko papers carried labels with both the new codes and the old codes relating to the various surfaces. These pictures (left and below) show three such labels.

The Bromide box shown to the left has the new code WSM 1.S – White Smooth Matt, 1 (grade) S (Single Weight). But its label also shows that, pre-1946, it was known as - Bromide Crayon Black, Soft, Single Weight. The old code gives it as BBS 1 - Bromide Black Smooth 1 (grade).

The 'Smooth' is added to differentiate this particular surface between 'Crayon Black Natural' and 'Crayon Black Rough', two surfaces of Bromide paper sold pre-1946.

Bromide papers made prior to 1946 were never made in Grade 3 Vigorous. Hence, e.g. when the new codes for Bromide paper were introduced in 1946, 'Nikko' Bromide paper BG 4 Contrast (see below) became WSG 3.S (White Smooth Glossy, Hard, Single Weight). There was never a code of Bromide BG 3 or BG 3.Z

The instruction sheet to the left dates from 1938.

This instruction sheet comes from a Kodak Bromide paper packet 'Bromide Royal White, Grade 4, (Contrast) Double Weight' (BRW-4Z). It was printed in January 1938, by reference to the number printed at the bottom left of the sheet – P.F. 300138.

The instruction sheet unfolds to reveal instructions printed in 12 languages.

The Kodak D-157, which is recommended for developing Kodak bromide paper, was an early version of the Kodak Bromide paper Developer D-163, also known as Kodak 'Special' Developer.

The sheet shows the Kodak formulae for Developers D-157 and D-162.
'Elon' is the Kodak trade name for what is elsewhere referred to as 'Metol' = methyl-p-aminophenol.
The Ilford rquivalent was 'Phenidone', l-Phenyl-3-Pyrazolidone. Ilford used this as a 'Metol' substitute from 1940.
'Dolmi' is the Kodak trade name for what is elsewhere referred to as 'Amidol' = 2-4 diaminophenol hydrochloride.
Potassium Alum is elsewhere referred to as potash alum, or potassium aluminium sulfate, with the chemical formula Al(SO4)2·12H2O

The instruction sheet below comes from a Bromide paper packet dated October 1944, reference to the number printed on the bottom left of the sheet – 3001044 1777 (not shown).

It shows the Kodak formula for Kodak D-163 Developer, which has slight chemical changes compared to the previous D-157 developer. It also give the Kodak formula for D-170.

The sheet is printed in four languages.

Below is shown a 3rd Bromide paper instruction sheet. It has been divided into two halves (below left and right) for convenience of display.
This one found in a Kodak 'Royal Bromide' packet of paper, 'Ivory Rough Lustre, Grade 1 (Soft), Double Weight' (IRL-1D). The sheet is printed in four languages but has no date. An estimated date of printing would be 1945 to 1947.

The uncertainty about the printing date of this sheet arises from the last paragraph, which reads: Glazing. 'Nikko' (glossy) bromide paper ........etc.
'Nikko' bromide became known as “White Smooth Glossy” in 1946, which suggests these instructions pre-date 1946. However, its always possibly that instruction sheets already in existence might have been inserted into packets of Bromide paper even after 1946. But the mystery deepens due to the lack of any mention of 'Royal Bromide' papers, which were contemporary to 'Nikko' bromide and which didn't receive a name change to simply 'Bromide' until around 1950. In short, why mention 'Nikko' and not 'Royal Bromide'? It ought to be the other way around.

Hence the difficulty in dating this instruction sheet accurately.

This box design, with its red and black parallel lines, dates from 1946.

The two pictures (left) show a box of WSL 1.S paper, White Smooth Lustre, Soft Grade, Single Weight, made by Kodak Ltd; UK. It was available in this form from 1947 to 1949. The surface may have been identical to a Bromide paper known as “Permanent Smooth” single weight, manufactured with this name at least since the 1930s.

In the UK Kodak Professional Catalogue for 1923 the paper was listed as “Permanent”, obtainable in “Rapid and Slow Smooth” and “Rapid Rough” surfaces and speeds.

By 1930, the paper was known as “Permanent Smooth”, described as a “rapid natural surface paper with a slight sheen, made in single weight only”.

At some time between 1943 and 1946 the paper was marketed as “Bromide Velvet Smooth”, as shown on the packet's rear label (see left; lower of the two) as “Previously known as:- Bromide Velvet Smooth, Soft BVS 1"

The name of the paper changed again in 1946 to “White Smooth Lustre” obtainable in single weight only. The paper was also marketed from 1946 as "Bromide Royal White Smooth Lustre” (WSL) in double weight only plus two more paper base tints, Ivory (ISL) and Cream (CSL), and there was an “Air Mail” version, “Bromide White Smooth Lustre, Light Weight”, made with an extra thin base to save on weight and the photographs could be folded without damage.

By 1949, the single weight version was no longer manufactured.

In 1951, the paper became known as “Bromide White Smooth Lustre”, the “Bromide Royal” series of papers and the Ivory and Cream base tints having been withdrawn.

“Bromide White Smooth Lustre” in double weight remained on the market until 1970 when replaced by “Bromide White Semi Matt” (WSemiM), a paper with an almost matt surface with a very slight sheen.

Velox paper was obtainable in “White Smooth Lustre” surface from 1959 to 1961, and Bromesko paper, “Ivory Smooth Lustre” (ISL) was manufactured in mainly continental sizes from 1958 to 1961. In 1962, the new “Royal Bromesko” paper was obtainable in “Smooth Lustre” surface in White and Ivory base tints (WSL and ISL).

The Bromide WSG 2.S box (the left most of the two shown alongside; the upper of the two in the enlarged section) is of a design that dates from 1946. The box shown must be an early box of this design as the sealing label (underneath the box) still has the 'change over' code printed on it – 'Nikko' Medium – BG-2.

It is believed that 1953 was the year that Kodak, London, introduced the yellow packaging for their black and white printing papers. Thus, the Bromide IFL 2.D box (Ivory Fine Lustre; the right most of the two shown alongside; the lower of the two in the enlarged section) dates from approximately 1953 to 1958. The red and black vertical line design was changed in 1959 to two offset rectangles that read 'Kodak' and 'Photographic Paper' (see the box of Bromide WSG 1.S further below).

In the 1950s and 1960s, Kodak Bromide paper was generally made with a white base. The 'Fine Lustre' surface was the only surface in the Bromide range made with an Ivory tinted base. By 1969, the Ivory tinted paper was no longer sold in the Bromide range of papers, although Kodak continued to make Bromesko Ivory Fine Lustre paper until the mid 1970s.

The instruction sheet shown below (front and back) is for Kodak Bromide paper, dated October 1952 – Ref. No. on bottom left on page 2; PF1052 RL201.

Since 1950, a new safelight filter, Wratten Series OB, a lime-yellow colour, had been in use replacing the Wratten Series OA filter, coloured olive. The Wratten Series OB filter was suitable for Bromide and Bromesko papers. Kodak was now recommending 68°F (20°C) as the correct temperature for developing Bromide and Bromesko papers in their paper developers such as D-163. The formula for D-170 was still being printed in the instruction sheet, but gradually Kodak 'Universal' liquid developer was replacing D-170.

The red and black vertical line design on the boxes shown in the images of the WSG 2.S and IFL 2.D boxes, above, changed in the UK in the late 1950s to one where 'Kodak Photographic Paper' was printed in two rectangles, see alongside and below. A very similar design was used by Eastman Kodak in the USA, from the late 1940s.

In the 1950s and 1960s, Kodak Bromide paper was generally made with a white base. The 'Fine Lustre' surface was the only surface in the Bromide range made with an Ivory tinted base. By 1969, the Ivory tinted paper was no longer sold in the Bromide range of papers, although Kodak continued to make Bromesko Ivory Fine Lustre paper until the mid-1970s.

The rear labels of these two boxes can be seen below; WSG.1S (left; mid-1950s to early 1960s) and WSG.3S (right; early 1960s).

The box and packet design dating from the mid-1960s to the mid 1970s.

 Bromide Air Mail Paper
A paper specially made for photographs to be sent by air mail was available with a 'Smooth Lustre' surface as from 1946, coded WSL L. The bromide emulsion was coated onto an extra thin base. As far as is known, Kodak air mail photographic paper before 1946 had a gloss finish. The surface reverted back to gloss in the late 1960s.

Bromide Foil Card Paper
Introduced about 1950, this paper was manufactured with a bromide emulsion coated onto a paper faced aluminium sheet. The purpose of the paper was for prints where critical measurements were to be taken directly from the prints as the paper did not stretch or shrink during processing and drying. It was used mainly for engineering detail drawings, maps, calculator scales, etc. The paper was made available in “White Smooth Lustre” in double weight. Manufacture ceased in the late 1960s, and a possible replacement for the paper was “Bromide High Resolution Waterproof”.

Bromide Air-Mail and Foil Card were available in Soft, Normal and Hard grades, also the various Royal Bromesko and Bromesko (ISL) paper.

Soft Grade 1 and Extra Soft Grade 0
A 'Soft' contrast grade of Kodak bromide paper had been available since the early 1930s, usually labelled BG1 or '1 Soft'. The Soft grade was intended for the printing of contrasty, also called 'Hard' negatives, where the subject brightness range was too high to yield a satisfactory print on a medium contrast grade of paper, labelled BG2 or '2 Normal'. Printing a Hard negative on Normal grade paper would have yielded a print with glaring white highlights and shadow areas having no detail.

In the 1930s, an Extra Soft, or 'Grade 0', was available in Kodak Velox paper in two surfaces, Glossy and Art = semi-matt, in single and double weight paper. In 1946, Glossy became White Smooth Glossy, and Art became White Velvet Lustre, in single weight only, coded WSG 0S and WVL 0S.

In 1940, Kodak Press Bromide paper was listed in the Kodak catalogue as having five grades of contrast = Soft, Normal, Medium, Contrast and Extra Contrast. Press Bromide paper was designed for processing and printing under 'rush' conditions, and was described as having 'exceptional latitude'. From 1946, when Kodak in the UK changed their paper grading system, Press Bromide paper continued to be made in five contrast grades, but now the previous Soft Grade became Extra Soft = Grade 0, Normal became Soft = Grade 1 and Medium became Normal = Grade 2. This was a more logical contrast range description, running from 0 = Extra Soft to 4 = Extra Hard in a glossy surface only, coded WSG 0S to WSG 4S, meaning White Smooth Glossy, contrast grade number, Single Weight.

By the mid 1950s, the regular Kodak Bromide paper was being sold in the same five contrast grade range in the glossy surface only.

The Grade 1 = Soft grade was manufactured in most surfaces and weights of Kodak Bromide, Bromesko, Royal Bromesko, and Velox papers, but Grade 0 = Extra Soft was confined to Bromide Glossy, mainly in single weight, and then only made available in certain sizes and quantities. Manufacture of Kodak Bromide paper in all grades ceased in 1982; to be replaced by Veribrom and Kodabrome II papers. The Extra Soft grade was obtainable in five paper sizes, single and double weights, up until the 1982 withdrawal of Bromide paper.

Boxes of Soft Kodak Bromide paper, dating from the early 1970s

WSG.0D = White Smooth Glossy, Grade 0 Extra Soft, Double Weight.
In 1973, this grade of paper was available in six sizes in double weight and eleven sizes in single weight in a glossy surface only.

WSemi-M.1D = White Semi Matt, Grade 1 Soft, Double Weight.
The Semi Matt surface was introduced in 1971 to replace the White Velvet Lustre and White Smooth Matt surfaces (WVL and WSM).

WSemi-M recorded fine detail well, and prints could be retouched easily. The surface was slightly more matt than the “N” lustre surface in Kodak's range of colour printing papers. The paper was also available in single weight.

Grade 1, Special Contrast

WSG.1 S
'Special Contrast' was a contrast grade halfway between Grade 1 Soft and Grade 2 Normal, effectively a Grade 1½. This grade was introduced in Bromide paper only in 1965. The only surface available was 'White Smooth Glossy' in single weight and double weight in boxes of 100 and 250 sheets. The paper was never sold in packets of 10 or 25 sheets. An article published in 'Kodak Professional News' for June 1966 informs us:
“Just what you’ve always wanted. Those difficult negatives which were just too soft for a Grade 1 or too hard for a Grade 2 should print very nicely on it. By introducing 'Grade 1 Special' we now have the most evenly spaced (by contrast) range of glossy Bromide you can obtain”.

The paper was available in sizes from 6½ x 4¾ inches to 10 x 12 inches. The labels from a 100 sheet box can be seen below.

Grade 1 Special never really caught on. Kodak withdrew the paper from the market in 1972 and the grade was never reinstated.

The author comments:
"In 1973 I was printing black and white sheet film negatives professionally on Kodak glossy Bromide papers. I found it was extremely rare to need a contrast grade between Grade 1 and Grade 2. Usually it was possible to alter the development time to give a very slight change of contrast. Nearly all negatives were printed onto Grade 2 or Grade 3. though I do recall using a fair amount of Grade 1 glossy paper. I aimed for detail in the shadows and a very slight tone in the highlights. All prints were glazed by placing them, after being bathed in wetting agent, glossy side down onto 10 x 14 inch polished stainless steel plates. The plates were then put on top of a Kodak Flat Bed Glazer, Model 2. Nearly all the prints were used for reproduction in books, magazines, pamphlets etc and the contrast was made slightly higher than would have been acceptable for a pictorial print for exhibition, or to hang on a wall in a home setting if printed on a paper other than glossy. A matt or semi matt surface (Kodak WSM, White Smooth Matt, or WVL, White Velvet Lustre) would have given lower visual contrast. This was all after the 1972 demise of Grade 1 Special.

Grade 4 Extra Hard
Bromide paper Grade 4 (code WSG 4S or 4D) replaced 'Nikko Extra Contrast' Grade 5 paper (code BG-5 or BG-5Z) in 1946, though it is unknown if the contrast of Grade 5 Nikko paper matched the contrast of Grade 4 Bromide. In that year all the contrast grades were made equal for Bromide, Bromesko and Velox papers. With that change, a printer could 'move' from Bromesko to Bromide paper without having to change grades. In 1946, 'Kodura' and 'Transferotype' papers were made in 'Normal' grade, and 'Bromoil' paper was made in a 'Soft' grade.

Bromide Grade 4 was intended for printing from negatives that produced prints of too low a contrast when printed onto a Grade 3 (Hard) paper. It’s use was mainly for making prints from extremely soft negatives, or very under exposed negatives. It was used extensively in printing 'Press' photographs, where there may not have been time to take an exposure meter reading and where the best possible print has to be made from a badly under-exposed negative.

In the late 1950s, Kodak UK made two types of Bromide paper for Press photographs:
a) Kodak Press Bromide was available in five contrast grades from 'Extra Soft' Grade 0 to 'Extra Hard' Grade 4. It’s special feature was “….to do justice to 'difficult' negatives, it has a low degree of fluorescence to ultra-violet light”. The paper was obtainable in sizes from 6½ x 4¾ inches to 12 x 15 inches. Kodak Press Bromide had been available in some form since 1939.
b) Kodak Press F Bromide paper had a higher level of brightness or 'surface whiteness' than Kodak Press Bromide paper. It was offered (1960) in a slightly smaller range of sizes than Kodak Press Bromide. It is thought that this paper was introduced in 1958. By 1961 only the Press F bromide was offered for sale.

A price list for September 1974 shows that Press F was obtainable in nine sizes in single weight but only three sizes in double weight, whereas Bromide paper was listed in 16 sizes in single weight and 11 in double weight. Press F paper (only) was also available in two metric sizes – 12.7 x 17.8 cms. and 18 x 24 cms. plus a 6 x 8 inch size paper in boxes of 250 sheets, minimum quantity. By this stage Press F was not obtainable in Grade 0 in any size, but Bromide paper was available in Grade 0 in many sizes. Kodak Bromide Grade 4, Kodak Press Bromide and Press F Bromide were never manufactured in any other surface apart from White Smooth Glossy – WSG. It is likely that the ordinary Kodak Bromide paper replaced Press F Bromide in the mid to late 1970s.

Grade 4 Bromide continued to be available for sale in single and double weight until the demise of Bromide paper in 1982. The front and rear labels (below) are from a package that dates from the late 1960s.

References: Kodak Professional Catalogues 1940, 1955 paper section, 1957, 1960, 1961, 1974, 1978. Kodak Dealer catalogue 1937. 'Kodak Papers' booklet 1947. British Journal Photographic Almanac 1939, 1940, 1941.

The picture below (right) came into the possession of Peter Vaughan's father when he took over running a chemist's shop during the 1960s. It is now held in Peter's possession and he has given permission for it to be displayed here. He says "It is behind glass, so please excuse the reflections".

It was taken using a No.4 Cartridge Kodak using a wide angle lens and "Enlarged upon Eastman's Royal Bromide paper". The No.4 Cartridge Kodak was manufactured from 1897 to 1907 (Ref: Brian Coe). It took a large roll film with a 5” x 4” format.

A label on the reverse of the print (see below, left) tells us that the frame and contents are the property of Kodak, Limited, successor to the Eastman Photographic Materials Co.Ltd; "It is particularly requested that the exhibit be promptly returned to Kodak, Limited, when required by them". Seemingly, Kodak never asked for the print's return and by the 1960s it had ended up in the chemist's shop owned by Peter Vaughan's father. There is no date on the label, but by combining the manufacturing date of the camera used and Michael Talbert's information (above) it could be 1910 or a few years earlier.

In the 1905-10 leaflet (above) it says "Royal Bromide Paper is an antique cream tinted paper, with a surface like hand-crafted paper, and is of such substance that, for many purposes, mounting is unnecessary".
In 1923 there were two 'Royal' papers viz: 'Royal' and 'White Royal'. The 'Royal' paper was a thick cream tinted rough paper, but Kodak didn't include the base colour in the title. The 'White' version may have appeared during the First World War or very early 1920s. Then, by 1933, the paper became 'Royal Tinted'. When the paper codes were introduced, possibly 1934, the code for Bromide Royal Tinted was BRT and it may have been at this time that Royal Bromide became known as Bromide Royal.

Before 1940 the range of Bromide Royal paper consisted of a range of four variants:
Bromide Royal White,
Bromide Royal White Fine Grain
Bromide Royal Tinted
Bromide Royal Tinted Fine Grain.
'Tinted' was equivalent to a 'Cream' base colour, a slightly yellow red, approaching the colour of a sepia toned print.

After 1940 (Taken from the British Journal Photographic Almanac, 1941).
Bromide Royal White became Bromide Royal Ivory White
Bromide Royal White Fine Grain became Bromide Royal Ivory White Fine Grain.
Two new papers were known as:
Bromide Royal Snow White
Bromide Royal Snow White Fine Grain.
There was no change to the Tinted Royal paper.

Michael Talbert comments: "What a mix up of Bromide papers! No wonder Kodak wanted to introduce a new coding system for their Bromide papers in 1946!"

Kodak Bromide Royal Paper BRTF-2 Z

The images alongside are the front and back labels of a pack of 10 sheets of 10 x 8 inch bromide BRTF-2 Z.

Kodak Bromide paper BRTF-2 Z = Bromide Royal Tinted Fine (grain), (grade) 2 (medium), Z (double weight).

This paper is likely to date from 1946 until the early 1950s.

After 1946, most Kodak printing papers were packed in quantities of 10, 25, 50, and 100 sheets in boxes or packets. Before this time, small sizes of paper were graded by weight and larger sizes were packed in multiples of a dozen.

The paper has an extremely fine grain matt surface with a yellow base. Medium grade was for printing with normal contrast negatives.

The original packaging quantity and size have been over-printed.

The packet was originally intended to hold 6 sheets of 11½" x 8½" paper at the pre-1946 quantity of ½ dozen (i.e. 6) sheets. It was then changed at some point to a different size, 10 x 8 inches, with the new 10 sheet quantity specified.

This particular type of Bromide paper was sold in the late 1940s in boxes and packets printed with the red and black vertical line design (see picture, below, of Bromide Royal box coded BRSWF2-Z). The sealing label and paper variety codes were never changed to the new coding system.

Kodak Bromide Royal Paper BRSWF-2 Z

The Kodak Bromide Royal paper 100 sheet box has a sealing label which was in use prior to 1946, although the box dates from 1946 onwards. In that year Kodak London introduced a new coding system for their Bromide, Bromesko and Velox papers stating Tint, Texture, Surface, Contrast Grade No. and Weight, in that order.

BRSWF 2.Z – translates as Bromide, Royal, Snow, White, Fine (grain), 2 (grade), Z (Double Weight).

The other surface which was never labeled with a new code was:
BRTF 2.Z, being Bromide, Royal, Tinted, Fine (grain), 2 (grade). Z (Double Weight).

In the Bromide range of printing papers at least 10 different surfaces and tints were labeled with the new codes. Another two, not included in the 10, kept their old codes and the boxes and packets were sealed with the previous pre-1946 labels – such as shown on the rear label of this box of BRSWF-2 Z.

In July 1953, Harringay Photographic Supplies, surplus photo material dealers, had a half page 'spread' in “Amateur Photographer” magazine offering for sale “Kodak Royal Bromide“ papers in both the above surfaces. Four paper sheet sizes, plus rolls, were listed at vastly reduced prices. It is likely that the paper would have been out of date by 1953.

See Information Tables, below

'Kodak Papers', one of a series of Kodak Photographic Handbooks, the first edition, published in 1946 and printed in January 1947, includes a list of Bromide papers that were available or becoming available at that time. Two Bromide Royal papers, BRSWF-2 Z, and BRTF-2 Z were still being sold in contrast grades of soft, normal, and hard (see Table below, left).

An insert for this Handbook (see Table below, right) shows the actual photographic papers obtainable in March 1947, including Bromide Royal. The Bromesko papers became 'White Fine Lustre' and 'Cream Fine Lustre', and the Bromide 'Silk' finish papers were being made only as Bromesko paper by 1949.

In the third edition of 'Kodak Papers', Handbook published in 1949, the two Bromide Royal papers, with the old surface and grade codes, were omitted. It is thought that they were no longer manufactured.

References:
Kodak Papers Handbooks, 1947, 1949.
'How to make good pictures' published by Kodak UK, 1951.

Kodak Bromide Royal Paper IRL 1.D

IRL 1.D translates as Ivory Rough Lustre, 1 (grade = Soft), Double Weight.

'Smooth Lustre', 'Fine Lustre' and 'Rough Lustre' surfaces were manufactured from 1946 in White, Ivory and Cream base tints, on a double weight base, in three contrast grades, Soft, Normal and Hard, in the range 'Bromide Royal' paper.

All other surfaces, base tints, and weights were known as 'Kodak Bromide'.

As far as is known, by 1952 the use of the word 'Royal' had lapsed and the 'Rough Lustre' surface was only included in Kodak’s 'Bromesko' range of papers, as can be seen on the label (below) WRL 3.D.

From 1952, all surfaces, base tints and weights of Bromide paper were labeled 'Kodak Bromide', see bottom label, WFL 1.D.

Packets and boxes of 'Bromide Royal' paper with the post-1946 coding are now extremely rare.

The following images of a box of Kodak Libra paper were sent (Feb 2020) by Trevor White. He asked whether the authors of Photomemorabilia might know anything about Libra enlarging paper. He couldn't find any reference to it on the Internet except that Kodak are now using the name for Litho' plates. The box originally contained 100 sheets of 10"x8" grade 2 glossy doubleweight and the batch code on the side is 37741-02-15.

Subsequently, Trevor heard from Erin Fisher and Todd Gustavson, both at the George Eastman Museum, who found reference to this name of paper relating to a Jesse Crittenden Ireland, trading as the 'Libra Company' of 16 Dorest Street, Salisbury (though a reference within Chemist and Druggist, for 21st May 1910, p45, gives the same address but as being in London). J.C.Ireland was applying to trademark the name "Libra" at that time, with an application number (?) of E.G. 321,403. The reason why the Libra paper should be in Kodak packaging seems uncertain, though it may have been manufactured by J.C.Ireland and Kodak marketed it. Erin Fisher also commented that the style of the box and design look to be around 1910 compared to other examples in the collection.

But there remains uncertainty whether the 1910 J.C.Ireland Libra paper is the same as the Kodak Libra paper shown below.

Michael Talbert commented:

• the Libra paper seems to be a Bromide paper, as the box has a Kodak Bromide type code (LG-2 Z), not a Bromesko code; the two were very different.
• the 100 sheet packaging quantity is odd for 8 x 10 inch paper manufactured prior to 1948. Before that time this size of bromide paper was sold in multiples of 12, so instead of 100 sheets, one would expect the quantity to be, say, 144 sheets.
• the “Made in Gt. Britain” label (see below) was only put onto paper boxes and packets from sometime during WW2 up to 1950 or so. During the latter part of WW2 it was changed to a stamp, or printed on the packet along with Kodak in the oval surround (see the BRTF-2Z packet above).
• the black 'Kodak' label (see centre of the box image) was thought to date to the 1930s, but with the proviso that, at the end of WW2 (1945), Kodak were scratching around for any boxes or packets, regardless of their label. Hence a product from the mid-1940s could have been put into a box with a 1930s 'Kodak' label.
• the batch No. 37741-02-15 has no letters mixed within the numbers. Most post-WW2 boxes have letters inserted into the spaces where the Libra box has dashes e.g. referring to packagings above, 29367M57E7 on the Bromide BG-5 packet (late 1940s) and 53397J82E5 on the Bromide BRTF-1Z packet (1940s). This might imply that the packets and boxes without the letters in the batch number are older than the packets and boxes with letters in the batch number.

Overall, this author was inclined to a conclusion that the Kodak Libra box (below) dates from the mid to late 1930s, the same age as the Bromide BRW-4 Z packet (above) with just “Kodak” printed in black. This was apparently confirmed by a discovered price list, see below the box pictures, dating to March 1936.

Why Libra paper doesn't appear in any Kodak catalogues remains a mystery.

At the bottom left of the label it reads B.P.244.2.10.27.
Could this mean the box dates to 1927? Michael Talbert comments about the possibility of the 1927 date:

I have a box of 10 x 12 inch Kodak UK Bromide paper labelled 'Nikko Soft' but with no code on the sealing label. A later box would have had a label reading Nikko BG-1 i.e. Bromide Glossy grade 1; NIkko was an early Kodak UK trade name for Glossy Bromide paper. Its likely that the Libra box to the left dates from the same time, as there is no sealing label code, just Vigorous stamped onto the top of the box. Compare this to the Libra box shown above, believed to date mid to late 1930s, which has the code LG-2 Z.

In the 1923 Kodak catalogue there are no contrast grades stated for Bromide papers, though there is a bromide paper listed separately as 'Contrast Bromide'. No paper is listed as 'Soft' grade. In the Kodak book 'How to Make Good Pictures', published c1927, Nikko paper appears, but again with no contrast grade. 'Contrast Bromide' is again listed, separately. In the British Journal of Photography Almanac (BJPA) for 1931, Kodak Bromide paper is (by then) advertised in Soft, Medium and Contrast grades.

So the Libra box (and Michael's box of 'Nikko Soft') may date from a rime when different contrast grades were first being made and labels wre starting to show a grade and surface. Its likely sealing labels would have shown codes for paper contrast and surface by 1935.

Putting all the above together, the likely date range is late 1920s to 1934. So, the label's code B.P.244.2.10.27 posssibly does refer to October 1927.

Below is shown a Kodak Libra box that looks of similar age to the Libra 8 x 10 inch box shown above (first Libra entry). It has the same surface but a different contrast grade.

It contained 250 sheets of Postcard size (3½ x 5½ inch) double weight paper. The paper had a gloss surface and its grade was 'Contrast', Grade 4. The paper code, LG-4 Z = Libra Gloss, Grade 4 (Contrast), Z = Double Weight. The box may date between 934 to the late 1930s. The number 1d 15934 can be found printed at the bottom left of the sealing label fixed to the side of the box (as shown enlarged below). This may denote September 1934 (last three figures). The March 1936 price list (see above) for Libra paper gives no price for 250 Post Cards, so it may be assumed that the quantity of 250 was either made to special order or that the 250 sheet quantity was not available at the time the price list was printed.

It is interesting to note that by March 1936 (and perhaps by 1927 - see box belonging to Stuart Allan, above) Libra paper was available in four grades of contrast and in three surfaces, whereas Kodak Bromide papers were obtainable in only three grades of contrast, apart from Nikko Glossy. There must have been perceived a noticeable 'gap' in the available contrast grades between 'Medium' and 'Contrast', leading to the production of a 'Vigorous' Grade 3. Velox 'contact' paper grades were more evenly spaced from 'Extra Soft' to 'Extra Contrast', but it should be remembered that in the 1930s many professional photographers were exposing onto glass plates of 6½ x 8½ inches or even 8 x 10 inches. Subsequent prints would have been (mostly) made by contact printing their glass plate negatives directly (by contact) onto Velox paper, which was obtainable in several surfaces and six contrast grades and in very large sizes of paper.

The date that Bromesko enlarging paper was introduced into the UK is uncertain, but it was definitely available by May 1937.

The left hand table below, dated 1937, shows the surfaces and contrast grades when Bromesko paper was first introduced. Originally, 'Soft' and 'Medium' contrast grades only were available, but in 1938 a 'Contrast' grade was added to the range in all surfaces and weights. (Ref: Kodak General Catalogue, 1937).

The right hand table shows the surfaces and contrast grades available in 1947. The 'Cream Smooth Matt' and 'Cream Velvet Lustre' surfaces were withdrawn by about 1951 and (at that time) all the 'Double Weight only' surfaces were obtainable on a white base, not just ivory or cream. (Ref: 'Kodak Papers' booklet January 1947).

Bromesko Trial Packets of Paper
At the introduction of the new Bromesko paper in 1937 in the UK, Kodak introduced 'Trial' packets of paper to encourage photographers to try the paper. There were four different packets, each containing 12 sheets. Each packet contained three different surfaces and, depending upon the choice of packet, the puchaser could choose Soft or Medium contrast grades.

No. 1 packet contained four sheets of surface 46 Z (White Lustre), four sheets of surface 47 Z (Cream Lustre) and four sheets of surface 48Z (Ivory White Lustre), all in Medium contrast Grade.
No. 2 packet contained four sheets of surface 42 Z (Ivory White Velvet), four sheets of surface 43 Z (Cream Velvet) and four sheets of surface 49 Z (Cream Rough), all in Medium Grade.
Packets No.3 and No.4 contained the same surfaces as No.1 and No.2 but in Soft Grade i.e. 26 Z, 27 Z, and 28 Z in packet No. 3 and 22 Z, 23 Z, and 29 Z in packet No. 4.

The size of the paper in all packets was Whole Plate i.e. 6½ x 8½ inches. The paper was Double Weight (Z), and the price of each packet in 1939 was 3/- (Three shillings= 15p in decimal currency).

(Reference: The Westminster Annual of Photographic Accessories 1939).

Kodak Bromesko 67 Z

At the time of its introduction, Bromesko paper was sold only in Soft and Medium Grades, but by 1938 a 'Contrast' Grade also became available.

Thie label alongside dates from the mid-1940s and shows the code for 'Bromesko Cream Lustre' (tint and surface) in the 'Contrast' grade and Double Weight (Z) paper.

In 1946, 'Cream Lustre' became 'Cream Fine Lustre' and 'Contrast' became Grade 3 Hard. The new coding after 1946 was CFL 3.D (D = double weight paper); for similaar, see below.

Kodak Bromesko CFL 1.D

This is a packet of Bromesko enlarging paper of similar "Cream Fine Lustre" as above, but with a post-1946 label.

The label shows the new code for Grade 1 (Soft).
It also shows the old code: Bromesko 27Z, Cream Lustre Soft Double Weight (DW).

The pre-1946 code for 'Medium' Grade was Bromesko 47Z.
'Medium' became known as 'Normal' (contrast grade) after 1946, and had the new code of CFL 2.D.

Packet of Bromesko paper made in Germany

Found on the German ebay site, it's difficult to be specific about its date of manufacture because of the coding system used. It was made in Berlin, SW 68 and has the UK pre-1946 code for its surface and grade i.e 47Z = Cream Lustre, Medium (contrast), Double Weight. In German, it is labelled Creme Seidenglanz = Cream Silk Gloss, possibly because there was no equivalent Agfa black and white paper with the same surface. It’s also odd that the (contrast) grade is termed “Normal” rather than “Medium”.

The packet may be about 75 years old (in 2023) but the author isn't sure, especially as Kodak in Germany may have been using the older coding system for their Bromesko paper after 1946. The UK Kodak equivalent surface and grade post-1946 was “Cream Fine Lustre, Normal, Double Weight”, or CFL.2D.

Bromesko Packaging, 1946

It is thought that these two whole plate size packets date from 1946. Both packets have two black vertical lines and the name 'Kodak is an outline in black. This was the original design for boxes and packets in the new range of UK made photographic papers introduced in 1946. Their rear sealing labels can be seen below their front images.

Both rear labels show the names and codes for the previous range of Bromesko papers.
Bromesko 64 White Glossy Contrast SW had now become WSG 3.S
Bromesko 47Z Cream Lustre Medium DW had now become CFL 2.D

The yellow label was to denote Grade 3 (Hard) paper on the WSG 3.S packet. The colour of all Grade 3 labels was changed to purple in the early 1950s.

Kodak were quick to colour one line in red, and 'fill in' the word 'Kodak' in red, certainly by 1947, see the pack of Bromesko IFL 3.D, further below left. Eastman Kodak, at Rochester USA, had started printing this 'red' design onto their boxes of photographic paper before the end of World War II

The 'red and black' photographic paper packaging design lasted until the late 1950s.

This sealing label, for a packet of CFL 1.D paper, is contemporary to the CFL 2.D packet and its rear label that can be seem to the left.

The previous Bromesko 27Z Cream Lustre Soft DW had now become CFL 1.D

Bromesko IFL 3.D and WSG 2.D 1947-1953

The Bromesko box alongside, with red and black vertical lines, dates between 1947 to 1953. The small yellow label background for the code 'IFL 3.D' that denoted hard contrast, was changed to purple in the early 1950s, see below, left, for comparison labels. The bottom label, below left, and the rear label, below right, are from packaging around 1973.
IFL 3.D (later IFL.3D) = Ivory Fine Lustre, Hard, Double Weight.

A further example, being Bromesko White Smooth Glossy, Normal, Double Weight, can be see below left. The rear sealing labels of both these boxes are shown immediately below. The rear labels show the previous paper codes and contrast grades; viz. 'Bromesko 44Z, White Glossy Medium, DW' and 'Bromesko 66Z, White Lustre Contrast, DW'.

The brown/grey boxes were gradually replaced by yellow boxes. It is believed that 1953 was the year that Kodak, London, introduced the yellow packaging for their black and white printing papers.

For examples of the various subsequent yellow packaging design changes, please see the Bromide sections that start 'Packaging Change From Brown/Grey to Yellow, WSG 2.S and IFL 2.D; c1953'

February 1947 instruction sheet, left.

This instruction sheet suggests that the paper should be handled under a Wratten Safelight filter Series 0, (Orange). Series 0 was replaced by Wratten Series OB in 1950 (see the 1950 instruction sheet, below).

Kodak formula D-166 could be made up to the formula given for maximum warmth in image tone. By the early 1950s, this developer was being sold as a packaged chemical named “Kodak Extra Warm Tone Developer” put up as a powder. It was also available in solution form sold in 8 fluid ounce bottles.

October 1950 instruction sheet, below, left and right.

By 1964 it was unusual for photographers or printers to make up their own solutions from raw chemicals and the formulae for D-156 and D-166 and their corresponding packaged products were no longer in use, although 'Royal Bromesko' liquid developer, introduced in 1963, may have been based on the formula for 'Extra Warm Tone' liquid developer.

At this time, October 1964, Bromesko was still available in a 'Cream' base paper, adding much to make the print appear sepia toned. Kodak withdrew 'Cream Fine Lustre' paper in 1968, although manufacture of 'Ivory Fine Lustre' continued until 1977.

References to above Bromesko instruction sheets: Kodak catalogue Section 4, Kodak Photographic Chemicals, January 1953.
Kodak Professional catalogues, 1968, 1978.
Kodak Professional News, June 1963.

NOTE: All instruction sheets are downloadable as pds from this section.

Front and rear Bromesko labels as they appeared in the mid-1960s.

White Fine Lustre, soft grade, double weight and White Velvet Lustre, hard grade, double weight.

Kodak UK introduced Bromide 'Silk' surface paper in 1946 on an Ivory and Cream base in Soft, Normal and Hard contrast grades. The paper was coded 'Bromide Silk IL' (Ivory Lustre) and 'Bromide Silk CL' (Cream Lustre). The code for 'Normal' grade paper was IL 2D or CL 2D. The paper was made in double weight only (hence 2D); it was never made in single weight in the life of the paper.
In 1948–49, the surface was transferred to the Bromesko range of papers as 'Bromesko Silk IL' and 'Bromesko Silk CL'. Bromide Silk was (thereafter) no longer made.

By 1951, most of the Cream based papers were no longer made in the Bromesko range. From 1950 every surface was (then) available on a white base as well as the previous Ivory base – hence Bromesko White Lustre WL, and Ivory Lustre IL.

The Ivory base Silk paper lasted until the end of 1966, and the White base Silk paper was no longer available after 1977. The Bromesko Silk packaging labels below (front and rear labels) date from the late 1960s to the early 1970s.

The paper surface had a fine, regular grain of minute dots, which produced a sparkling effect. The paper was much used for wedding photographs and portraits. 'Silk' was a fairly rough surface which went some way to minimise the 'grain' of the photographic film negative.

As far as is known, Kodak UK never made photographic paper with a 'Silk' surface prior to 1946. There is no surface termed 'Silk' in any of the available (to the author) Kodak UK catalogues dating back to 1922. However, Silk surface paper were certainly being made by other manufacturers in the 1930s. Agfa were manufacturing a paper known as 'Siltex' on an Ivory White base with its code for 'Normal' contrast paper being BN 137. This is a similar code to the Agfacolor (colour negative printing) paper MCN 117 Type 7 marketed for a short time from 1970 onwards. Eastman Kodak introduced a Silk surface for their (colour negative printing) Ektacolor 47RC (code Y) and Ektacolor 37RC (code Y) papers in 1970 – 71.

References: Kodak Papers Booklets 1947, 1949.; 'How to make good pictures' Kodak book 1951.; Kodak Professional Catalogues 1966, 1968, 1978.; Kodak Dealer Catalogues 1966, 1967, 1975, 1976.; Agfa Price List 1934.; 'Agfacolor' Berger. 9th German edition 1972.

Royal bromesko paper was introduced in 1962 and discontinued in 1977. It was available with 'Smooth Lustre' and 'Fine Pearl' surfaces with a choice of a white or ivory base in Double Weight only.

Types of Royal Bromesko Paper from 1962.
In the UK, Kodak Royal Bromesko Paper was introduced in 1962 as a printing paper similar to Bromesko but having a warmer (browner) image tone with a slightly lower printing speed.

In July 1962, the paper was initially sold as a “Special Order” item, and the minimum order accepted was for 1000 square feet in area of any one contrast grade and size.
White Smooth Lustre (WSL) and Ivory Smooth Lustre (ISL) papers were available in double weight only in Soft (1), Normal (2), and Hard (3) contrast grades.

White Fine Pearl (WFP) and Ivory Fine Pearl (IFP) surfaces additionally became obtainable during 1962 to ’63, and the paper was no longer sold as “Special Order”. Sizes and quantities were listed in the UK Kodak Professional Catalogue for 1963 in the Bromesko paper section, from 3½ x 4½ inches to 16 x 20 inches, 10, 25 and 100 sheet packs, in the three contrast grades noted above in Double Weight base.
By way of a coding example: Ivory Fine Pearl, Normal, Double Weight, would be coded: IFP 2D.

Fine Pearl was a new surface in 1962. It had a matt surface with an extremely fine grain. Kodak recommended this surface as a good choice if much retouching had to be done to the print, as in portraits.

Ivory Smooth Lustre surface (ISL) had originally been introduced in the late 1950s as a Bromesko paper. In 1959 it was for sale in mainly continental sizes.
By 1961 it was for sale in as many as 5 contrast grades, from Grade 1=Soft, to Grade 5=Ultra Hard, in certain sizes, along with a White Smooth Lustre paper, WSL. Smooth Lustre surface was free from any base texture and had a surface with slightly less shine than an unglazed glossy print. Fine detail reproduced very well.

Another surface listed under “Bromesko” paper in the early 1960s was White Fine Low Lustre. The author believes this surface was very similar or identical to Fine Pearl. Both surfaces are listed for sale in the “Kodak Professional Catalogue” for July 1964, Low Lustre as a Bromesko paper, Fine Pearl as a Royal Bromesko paper. A list of Kodak black and white printing papers dated October 1965, however, does not mention the Low Lustre paper.

Royal Bromesko surfaces added in 1965.
White Smooth Glossy, coded WSG; White Fine Lustre, coded WFL.
Available in Grade 1, Soft; Grade 2, Normal and Grade 3, Hard. White Smooth Glossy, was also available in Grade 4, Extra Hard.
All in Double Weight base only.
By way of a coding example: White Smooth Glossy, Extra Hard, Double Weight. Would be code: WSG 4D

By 1969 the Smooth Glossy and Fine Lustre surfaces had been discontinued along with the Ivory Smooth Lustre surface. A year or so later the Ivory Fine Pearl surface was no longer made leaving White Fine Pearl, WFP and White Smooth Lustre, WSL in Soft, Normal and Hard grades.

Royal Bromesko gave a warmer image tone by direct development in Kodak D-163 developer than Bromesko paper processed in the same developer. For maximum warmth, Kodak “Royal Bromesko” developer produced an almost brown and white image. Royal Bromesko Developer was obtainable in liquid form, to be diluted one part developer to nine parts water, to make a working solution for use with Royal Bromesko paper. Also, in powder form, Kodak “Warm Tone Developer” was available in the 1960s, the stock solution to be diluted one part developer to one part water for a medium warmth of tone.It had a slightly lower printing speed than Kodak Bromide or Bromesko papers. Royal Bromesko could be processed under a Wratten Safelight filter Series OB (and subsequently also Series OA and OC).

The author purchased a box of Royal Bromesko paper, 6½ x 8½ inches, 100 sheets, in White Smooth Lustre surface, Grade 3, in 1968 (WSL 3D). The difference in image tone between Royal Bromesko and Bromesko papers was very noticeable, even when processed in the standard Kodak paper developer, D-163. The author found, when comparing prints for contrast and density, that the visual contrast decreased on Royal Bromesko because of the colour of the image compared to a similar print made from the same negative on Kodak Bromide paper. The blacks of the print turned brown-black and mid tones a light brown. He found Royal Bromesko paper difficult to use and many people preferred a “good black” as reproduced on a Bromide print to a rather insipid brown black on a Royal Bromesko print.

Warm tones on Ilford “Clorona” paper were popular in the 1930s. The Ilford Manual for 1935 gives two print developers, ID-23 and ID-24, suitable for producing warm-black to sepia to red tones on Clorona paper. The Ilford Manual stated that Clorona paper required a negative of “Fair contrast” when brown-sepia to red tones were desired. As the tone of the print changed from brown-black to sepia, and finally to red, the visual contrast decreased, so that a negative of fairly high contrast usually gave the best results. This is exactly what the author found when using Royal Bromesko paper.

Instructions for Bromesko Royal Paper, May 1967
Maximum warmth of image tone could be achieved by developing in 'Royal Bromesko' developer and printing on an Ivory based paper such as 'Ivory Smooth Lustre' or 'Ivory Fine Pearl'. 'Ektaflo Type 2' and 'Selectol' were American print developers, not available in the U.K. The paragraph on 'Drying' mentions Royal Bromesko glossy paper (WSG). This paper was short lived, only manufactured between 1965 and 1968.

References: Kodak Professional catalogues, 1966, 1968; Kodak dealer catalogue, 1965.

Click on the following titles to download the files as pdfs

Bromide Paper, 1938; Bromide Paper 1944; Bromide Paper 1945-47 (estimate); Bromide Paper, October 1952; Bromide Paper, July 1957; Bromide Paper, 1964; Bromide Paper, April 1967
Bromesko Paper, 1947; Bromesko Paper, October 1950; Bromesko Paper, May 1953; Bromesko Paper, October 1964
Royal Bromesko Paper, May 1967
Veribrom Paper, August 1974
Velox Paper, October 1953
Velox Paper, June 1959

History of Kodak Bromide Transferotype Paper
Transferotype paper was available in the 1920s, the earliest reference found, dates from 1923.

1923Transferotype paper made in Normal and Contrast grades, possibly sold in the same sizes as single weight Kodak Bromide paper.

1933Transferotype paper listed in Kodak’s 1933 catalogue in Soft grade only. Prices and sizes as single weight Bromide paper.

1940Transferotype paper made in 6½ x 4¾ inches to 15 x 12 inches in 6 sheet and 25 sheet packets. Possibly in a Medium contrast grade but the grade was not stated. Other sizes could be supplied to special order. Kodak 1940 Catalogue.
Contrast grades of black and white Kodak photographic paper.
Soft – for contrasty, or hard negatives.
Normal, later to be known as Medium grade in the 1930s, for normal contrast negatives. Reverted back to “Normal” after 1946.
Contrast – for soft negatives, later to be known as “Hard” after 1946.

1957Transferotype paper made in “Normal” contrast only. 8 x 10 inch size listed, 10 sheet packets. Kodak November 1957 catalogue.

1960 to 1964        “Normal” contrast only. 8 x 10 inches sheets and 40 inch x 33 feet long rolls. Other sizes to special order.

1965Transferotype ceased being made in the UK in February 1965.

As far as is known, Eastman Kodak at Rochester, USA, never manufactured a photographic paper of this type.

Transferotype Bromide paper had an emulsion which could be transferred onto an opaque or transparent surface. The paper was exposed in exactly the same way as a normal Bromide paper and then developed in a suitable black and white print developer such as Kodak D-163, diluted 1 part developer to 3 parts water. Development time was 1½ minutes at 68°F (20°C).
Apart from Kodak D-163, other black and white print developers could be used, viz:

Kodak “Universal”, a concentrated liquid developer.
Kodak “Velox” developer, which gave a blue black tone. An early type of developer in use in 1923.
Kodak “Press Contrast” developer, a liquid developer which produced a slightly higher contrast than other developers with a shorter development time.
Very early black and white print developers include “Kodol”, a highly concentrated developer suitable for all types of photographic material
Early developers also include Kodak “Special” developer, which became known as D-157 and later, after a formula change, D-163.

Print developers designed for use with chloro-bromide papers, or “warm tone” papers, such as Kodak “Bromesko”, were not recommended.

It was essential to use a non-hardening fixer with Transferotype.
Suitable Fixers included Kodak “Acid Fixing Salts”, a non hardening fixer in use up to the 1950s. This became known as Kodak “Acid Fixer Powder” in the 1950s, replaced by Kodak “Metafix” powder in 1965.
A liquid fixer in use from the 1950s was Kodak “AM-33”, but needed to be used without the liquid hardener addition.

Prints were washed after fixing for about 30 minutes, and could be transferred immediately or dried for future use. Heat drying was not recommended.
If a sepia toned print was desired this could be carried out after washing in Kodak Sepia Toner or in a formula such as Kodak formula T-52.

Wood, cloth, pottery, metal, or interior plaster board were suitable surfaces for receiving the photographic image printed on the Transferotype paper. Translucent or transparent surfaces also gave good results, but about four times the normal print exposure was necessary before transferring onto a transparent surface. This was required to give enough density to the print when light was projected through the image as opposed to light reflected from the image.

Transfering the Image from Paper to Support
Hard surfaces only required cleaning before transfer. Porous surfaces, i.e. paper, cloth, or any sort of fabric, were first treated with a coating of gelatine to “seal” the surface. Kodak gave a formula of ½ ounce photographic gelatine dissolved in 12 fluid ounces of water. Extremely porous surfaces required several coats, each coat drying before the next was applied.

The support, with it’s gelatine coating, was then hardened in a Chrome Alum hardening bath for about 5 minutes, then washed for 10 minutes before drying.
The Kodak formula for the Hardening Bath was: 100 grams of Chrome Alum dissolved in 1 pint of water.

After drying, the print and it’s support were soaked in water and squeegeed together with a roller face to face, the front of the print facing the support. The “pack” was kept under pressure between photographic blotting paper for at least an hour.

To complete the transfer, the print and it’s intended support were immersed in water at a temperature of 100°F to 105°F until the print base, the paper which the photographic emulsion was coated onto in the first place, came away from the intended support.

For transfer onto a hard surface, such as glass to make a black and white transparency, a higher temperature at 130°F to 160°F was necessary.

After transfer, the transferred print on its new support backing, were treated in a Hardening Bath of 2% Chrome Alum and washed for a few minutes before drying.

Since the front surface of the print is placed onto the front surface of the support, the back of the print is then facing you. Consequently, the resulting transferred image is reversed, left to right. To avoid this, the negative had to be placed emulsion side up in the enlarger negative carrier, so as to make a reversed Transferotype print. After it was transferred, of course, it appeared correct.
Printing the negative the wrong way round would still be necessary even when transferring to a transparent support, such as glass, clear plastic, or a thin fabric, if the intention was to use the Transferotype for making lampshades. The image needed to be on the outside of the lampshade so that the support material protected the transferred image from heat radiated from the light source.

Safelight
The paper could be handled under a safelight filter suitable for Kodak Bromide paper.

Kodak suitable safelight filters:
1920s and 1930s    Wratten Series O, or Wratten Series 1, or Wratten Series OA; depending on the type of Kodak safelamp.

1940s and 1950s    Wratten Series OA in the 1940s; this became Wratten Series OB from 1953 and was recommended for all Kodak safelamps.

Finisher Bromide paper was made with a surface specially for re-touching. The description given in the 1933 Kodak UK catalogue reads:
“The surface is an unusual combination of 'sheen' and 'tooth', so that brilliance is obtained coupled with a great ease in finishing with pencil, crayon, or brush”.

The paper sample taken from the packet shows a surface with slight reflectance and very slight roughness. It could be described as a semi-matt surface with a very slight fine grain appearance.

According to the 1933 Kodak UK catalogue, the paper was obtainable in single weight and double weight thicknesses, in soft, medium, and contrast grades.

Apparently it was first marketed in the early 1930s, certainly by 1933, but was no longer manufactured after 1946, with no equivalent surface within Kodak's new range of papers introduced in 1946.

'Tooth' in re-touching terms refers to the roughness of the paper surface. This surface roughness gives something for the re-touching medium to penetrate into and 'key' onto. A print made on ordinary glossy paper would be difficult to re-touch as the re-touching medium, whether pencil, crayon, or liquid colourant (ink or dye) applied by brush, would leave an obvious surface mark in the case of pencil or crayon, and would likely smear in the case of liquid retouching. The 'tooth' surface enabled the re-touching medium to penetrate into the surface and be far less visually obvious.

Prior to 1948, the majority of 35mm professional motion picture film was produced on a nitrate base, and it is reasonable to assume that any such existing film known to pre-date 1950, will fall into this category. It is a fact that if this material has been allowed to deteriorate and become unfit for projection, the likelihood exists that it may have reached the point where further prolonged storage would be very unwise.

Under certain circumstances, it is possible for nitrate-based film in poor condition to spontaneously ignite. The hazard of a large quantity would be considerable and the fire difficult to extinguish. In 1948, cellulose triacetate was introduced and, due to its improved "bending"properties, it was adopted for professional motion picture films. By about 1951-52, the major film manufacturers had ceased to produce general purpose nitrate-based films. .

If you are storing any old professional cine films you should establish what they are as quickly as possible. Identification of the base material is relatively straightforward. Most films have such information printed in the margins and, if the word "nitrate" appears, the material should be treated with caution. Should the margins be blank it is best to assume that the base is cellulose nitrate. Occasionally confusion may arise when the word "nitrate" appears in the margin of a duplicate film made on modern safety materials, but this is usually due to the word being transferred from the margins of the original film during copying.

Motion picture film was not the only material to use a nitrate base. For many years roll films and 35mm films were also coated on to this and therefore anyone possessing a quantity of pre-1945 negatives should exercise caution. The last known use for nitrate-based roll film was about 1950.

Small-gauge cine films are probably the safest. Kodak, especially, have not produced a 16 or 8mm film for amateur use on anything other than a safety base, and this is always indicated along the margins with the printed words "safety film" throughout its entire length. If identification of the base material proves difficult and any doubt exists, play safe and assume it is not safety film.

It is not unknown for nitrate-based film to remain in perfect condition for 50-60 years, whilst there are also instances of rapid deterioration after only a few years of storage under poor conditions. For some time it was considered that processing inefficiency was a contributory factor to its life span, but this has since been disproved. It is not easy to recognise symptoms of deterioration very early, as these can appear totally unexpectedly and very rapidly, temperature playing a big part in this. In an advanced state of deterioration, the film image is destroyed and the film turns yellow and then brown, ending finally as a grey powder. Ignition normally takes place at a reasonably high temperature, say 300°F (150°C) but it has also been known to occur in a film storage 'can' at only about 100°F (40°C). Toxic fumes are given off also, and if moisture or damp is present, nitric acid may form.

Although acetate bases were available between the wars, these early versions would not stand up to hard and continuous wear, making them especially unsuitable for motion picture film. However, with the introduction of a base made from high acetyl cellulose acetate (cellulose triacetate), "Safety Film" became universal. Although these are not strictly non-inflammable, they are slow burning.

If you consider that a quantity of film in your possession is on a nitrate base and any sign of decay or ageing is visible, keep it cool and dry, and notify the Fire Prevention Officer at your local fire station. Do not attempt to destroy it yourself.

Incidentally, the major film manufacturers are now considering dropping the marginal print "Safety Film" as it can be assumed that all modern film is 'safe'.

Further on this subject comes from the book 'Silver by the Ton, a History of Ilford Ltd, 1879-1979'; ISBN 0-07-084525-5.
Films had traditionally been produced on a cellulose nitrate (aka Celluloid) base until 1930. In 1929 the celluloid base of X-ray negatives caught fire in a hospital in Cleveland, Ohio and turned the building into a raging inferno. Subsequently, US authorities prohibited the use of highly inflammable film base and other countries soon followed. Hence, by 1932 Safety X-ray Film was on sale, produced on a cellulose acetate base.

This was soon extended to graphic arts films, motion picture film, miniature films and, finally, to roll film, though note that Rex Hayman, above, suggests this change-over was not complete until 1948, with no doubt WW2 intervening to slow down the universal adoption of acetate base. The final paragraph (below) suggests it would have been post-1946 in the UK.

This move, forced by safety considerations, was soon turned to a sales advantage because cellulose acetate, especially when coated with Saran resin to improve its water-resistant properties, proved an
easier material to use than the previous nitrate.

Soon after WW2 ended (in Europe; 8th May 1945), the whole (Ilford) company closed from Saturday, August 4th to the morning of Wednesday, 8th August 1945. Almost at once negotiations with BX Plastics Limited reached fruition over the creation of a joint company to produce triacetate film base. Bexford Limited was formed, a liaison name derived from the two names of the parent companies. Its creation had been helped by the Ministry of Supply when film base was very difficult to obtain from the USA. Production started in 1946.

The followiwng table applies to UK made film only. Some of the Eastman Kodak USA equivalent films were introduced at different times.
As far as can be ascertained from old Kodak catalogues and BJPAs (researched by Michael Talbert and Gavin Ritchie), the introduction dates of the 'still' films (as opposed to cine), in 35mm and roll film formats, were:

Film Name	Year Introduced	Film Speed from a Jan 1939 dealer catalogue; pre-1960 rating. Kodak = DIN system	Comments Some films may have been obsolete by late 1938 and not obtainable
Kodak Film or Kodak Regular Film		26 Kodak = 32 ASA (roll)	Possibly the same as the roll film introduced in 1903 as 'Kodak Non-Curl Ortho' film? It was a less sensitive orthochromatic film than Verichrome, sensitive to blue, green, and slightly sensitive to yellow light. It could be handled and developed under a fairly bright red safelight. Still for sale in 1943; probably replaced by Verichrome film at the end of WWII.
Verichrome	1931 (Spring; Ref: BJPA 1932)	28 Kodak = 50 ASA	Roll Film.
Panatomic	1931	27 Kodak = 40 ASA	Roll and 35mm.
Super Sensitive Pan	1933	28 Kodak = 50 ASA (35mm) 30 Kodak = 80 ASA (roll)	The Wallace Heaton catalogue, “Minitography and Cinetography” 1939 (eventually became the Wallace Heaton Blue Book) says Roll films were developed to a higher contrast than 35mm films because of the larger negative size. It was found that this extra development also increased the speed of the film by about half a stop from 28 Kodak = 50ASA(ISO) to 30 Kodak = 80ASA(ISO). The speed of Kodak 35mm and Roll Panatomic film remained the same at 27 Kodak = 40ASA(ISO), possibly the roll film was developed to a higher contrast but the speed increase gained was negligible. These notes applied to film developed in Kodak D-76 developer only. It seems Super Sensitive Pan film was first made as a cine or motion picture film in 1930 or 1931, with 'still' films, having the same emulsion, being introduced in 1933. The emulsion seemed to be overly red sensitive, compared to other panchromatic films at that time, so it would have performed well in artificial light.
Super-X	1937	29 Kodak = 64 ASA	Manufactured first as a cine film first before being marketed as a still film, but only in 35mm format. Super X replaced Super Sensitive Pan in 35mm format in 1937
Panatomic-X	1938	27 Kodak = 40 ASA	Roll and 35mm. Replacement (improved version) for Panatomic film in all sizes. 828 size is listed in Kodak (UK) 1940 catalogue.
Plus-X	1938	29 Kodak = 64 ASA (35mm)	Replacement for Super X (improved version, different name) in 35mm format. Not available in roll film until 1951 in the UK and then replaced by Verichrome Pan in 1955. Plus-X Pan Professional (10 roll packs) introduced into the UK in 1963 at 125ASA.
Super-XX	1938	32 Kodak = 125 ASA	Replacement for Super Sensitive Pan in roll film sizes in 1939. Introduced for 35mm in 1938. Still not available in roll film at the end of 1938 so likely introduced as roll film in 1939.
E.F. Panchromatic	1938 or 1939	23 Kodak = 16 ASA	Introduced in 1938 or 1939 as far as can be ascertained. Known as E.F. Pan; possibly Extra Fine Grain Panchromatic

Tri-X sheet film was introduced in 1939 but was not made in any other format until 1955, when it became available in the USA as 35mm, 120, 127, 620, and 828, though not at first in the UK, even as late as November 1955 (Ref; Camera World, p302). It was announced in the BJPA for 1956 for the UK market.

Verichrome Pan also first appeared in the UK in 1956. Initially at 80ASA, it went up to 125ASA when the speed 'Safety Factor' was removed in 1960.

The name Panatomic-X was retained from its first use in 1938, but in 1956 it was a new emulsion, speed rated at 25 ASA daylight & 20 ASA tungsten (40 ASA from mid-1960), matching the quality of the new Tri-X and Verichrome Pan films (Re; BJPA 1957, p210). In brief, this reads:
During the past year additions and improvements have been made to the Kodak range of black-and-white films. Of three roll films recently tested, Verichrome Pan and Tri-X are new names to the Kodak range, whilst Panatomic-X, which retains the name of a well tried favourite, is coated with an improved emulsion matching in quality the first two named and others previously introduced by Kodak.
......the first noticeable property of the new films is their latitude. Equally noticeable is the fact that Tri-X film with reasonably correct exposure and development has a grain comparing in fineness with the slower films of the Kodak range, a fact which should strongly recommend Tri-X film to those requiring considerable enlargement from subjects taken under adverse conditions. Tests showed that Panatomic-X and Verichrome Pan films possess very similar characteristics, and developed in D.76 for the prescribed times for a gamma of 0·8 negatives from both films were of almost identical quality. This valuable feature allows of interchange of the two films without variation in negative quality, when it is required to take advantage of their respective speed differences. Fog level in all three films is exceptionally low, and the anti-halo backing entirely disappears during processing leaving the negatives free from any trace of tint or stain. The grain of all the above tested films leaves nothing to be desired in regard to fineness, although, as already mentioned, that of Tri-X is outstandingly fine for a film of such very high speed.

In 1952, in the USA, there was Verichrome, Plus-X, and Super-XX roll films; Tri-X was still sheet film only. There was a glass plate Tri-X in the USA but its believed that came later.

Super-Panchro Press sheet film, still available in 1954, gave way to Panchro-Royal sheet film in 1955.

Royal-X Pan, in 120 roll film format only and with a light sensitivity 4x that of Tri-X. It was hailed as "the world's fastest film" when it was first advertised by Kodak in the BJPA for 1959, suggesting it may have first gone onto sale in 1958.

In the USA in 1960 (uncertain; 1956-1961), Plus-X Pan Professional film was available in 120 and 620 roll films, but you had to buy a minimum quantity of 25 rolls at a time. In the UK in 1963, Plus-X roll film was reinstated as Plus-X Pan Professional film in 120 size rolls.

Film Speed 'Safety Factor' in the 1930s (until mid-1960)
Most black and white films manufactured from the late 1930s were “speed rated” at half their true emulsion speed. This was because before this time the majority of the films sent into Developing and Printing (D&P) laboratories from amateur photographers were badly under exposed. By printing a speed on the film carton which corresponded to half the true speed of the film inside the carton the amateur photographer was over exposing his negatives by one stop, doubling the exposure. Hence this led to fewer underexposed negatives and an improvement in print quality.

Professional photographers who worked out their own exposure times using exposure meters or by other reliable means and who developed their own films, could double the speed printed on the film carton with little danger of under exposure. Plus X 35mm film could be exposed at 125 ASA(ISO) or 32 Kodak, and Super XX 35mm or roll film at 250 ASA(ISO) or 35 Kodak.

This increase in speed was only successful when the films were developed in a developer which did not decrease the film speed during development; best would have been something like Kodak D-76 developer. Developers labelled “Extra Fine Grain” often cut the film speed down by about half a stop, some as much as one stop, halving the ASA(ISO) rating.

In the summer of 1960, manufacturers removed the above safety factor (only relevant to black & white film), as can be read here.

A Kodak Leaflet from May 1961, entitled 'What's happening to film speeds?', which explains why Kodak increased the speed of their black & white films, can be downloaded as a pdf here. On the last page (p6) is a list of films and plates, together with their revised speed ratings, as available from Kodak at that time. This leaflet was a continuation of an article published 6 months earlier in 'Kodak Professional News' magazine for December 1960.

Plus-X Pan Professional Roll Film in multi-film packs
Plus-X Pan Professional roll film, a revamped form of Plus-X Pan roll film, was introduced by Kodak UK in August 1963. It was available in 120 roll film packaged as two units, each unit having five rolls. With a speed of 125 ASA, it was an excellent, virtually grainless, general purpose medium speeed film. Enlargements were very sharp. It was primarily intended for professional photographers. It was similar to Kodak Verichrome Pan film but with shorter development times and a retouchable surface on the emulsion side of the film. It was only sold in packs of ten of size 120 roll film.

In the USA, Plus-X Pan Professional was available in 120 and 620 roll films from 1960 (uncertain; 1956-1961), but you had to buy a minimum quantity of 25 rolls at a time. Prior to June 1963, Eastman Kodak seemingly speed rated the USA Plus-X Pan Professional at 160 ASA, as evidenced by an item within the 'Tech Section' of the American magazine 'Popular Photography', dated August 1963. 'Tech Section' contained a column entitled 'Facts, Ideas, Hopes' written by William J. Sumits, 'Chief, Life Photographic Laboratory', presumably meaning he was Chief of the now defunct Life Magazine’s Photographic Laboratory. Mr. Sumits reported that they (presumably the people at Life Magazine), had been recommending for over a year that photographers should rate Plus-X film at 125 ASA instead of Eastman Kodaks’ rating of 160 ASA. The reason being that, when printing Plus-X negatives rated at 160 ASA, the negatives were too contrasty to print well on condenser enlargers. Not long afterwards, Eastman Kodak changed their official speed rating of Plus-X to 125 ASA for all formats. This lower speed was applied to the UK Plus-X Pan Professional from its August 1963 introduction.

The pack of Plus-X Professional shown below has a “Dev. Before” date of January 1971.

Plus X Pan Professional film instruction sheet shown to the right.

This instruction sheet was enclosed in a pack of ten 120 roll films with a 'develop before' date of January 1968. The instruction sheet is dated September 1965. As Plus X was a 'fast developing' film, it was recommended to use the diluted form of D-76 developer for more control of contrast and density.

Super-XX 35mm film was introduced in the UK in 1938. At that time it was the fastest film made by Kodak UK and rated at a speed of '32 Kodak' to daylight or '30 Kodak to tungsten lighting. An article published in the Wallace Heaton 'Minitography and Cinetography' catalogue of 1939 (which eventually became their well known "Blue Book") written by E.R. Davies, the Director of research for Kodak UK, gives much information on Super-XX film plus two other films, Plus X and Panatomic X, both introduced at the same time. It was said Super-XX film possessed a finer grain structure than Super-X, the fastest film prior to 1938. Super-X was replaced by Plus-X in 1938. A Kodak leaflet printed at the time of the introduction of the films, or slightly later, describes the films and includes development times.

32 Kodak speed was approximately 125 ISO/ASA and the tungsten speed of 30 Kodak was approximately 80 ISO/ASA. In the late 1940s the film speed was decreased to 31 Kodak or 100 ISO/ASA to daylight. The film speed may have been decreased due to a reassessment of film speeds when the ASA system of film speeds was introduced in 1946.

In 1952, Super-XX film was available in 36 exposure cassettes, tins of bulk film in 1.6, 5 and 25 metre lengths for cassette loading in the darkroom. Size 828 rollfilm for Kodak 'Bantam' cameras was also obtainable. The film was coded 'XX' and a 35mm cassette of 36 exposures (XX135) cost 9shillings and 5pence (9s.5d); about 47p.

In 1953 the 35mm film was described as "A modern type of high speed panchromatic film combining extreme speed with a degree of fineness of grain which meets all normal requirements in enlarging……………..a very long exposure scale and wide latitude in exposure. Colour sensitizing is panchromatic without exaggerated red sensitivity. Soft gradation. For high speed and artificial (light) work of all kinds. Press photography, news reporting, action, night and indoor subjects".

Kodak increased the speed of the 35mm film to 160 ISO/ASA for daylight exposures and 100 ISO/ASA for tungsten lighting, in 1954. These speeds had a 'Safety Factor' built in of one stop in exposure. Hence, experienced photographers could expose their films at double these speeds without under exposing.

Tri-X film replaced Super-XX in 1955 in 35mm and all roll film formats. Tri-X 35mm and roll films were included in a 'Kodak Dealers' catalogue printed in December 1955. Although Tri-X replaced Super-XX, it was still possible to purchase Super-XX film in 36 exposure cassettes and bulk film in 1956 while 'stocks last'. It sold at a reduced price compared to the new Tri-X.

The 'Kodak Professional' catalogue for 1957 only listed the sheet film version of Super-XX.

The 35mm size of Super XX film was introduced to the US market in 1938.

The film had a 'Kodak' speed of 320 to daylight and 200 to tungsten light. Another speed rating given in a table of film speeds for American films in 1941 was the G.E. (General Electric) speed rating system, which gave 100 for daylight and 64 for tungsten. Although films were not yet rated by the ASA (American Standard Exposure Indexes) the G.E. speeds corresponded almost exactly to the ASA speed.

A data sheet from March 1945 described the film as “very high speed for indoor and outdoor use under adverse lighting conditions and where very fast shutter speeds are necessary”. Kodak D-76 was the recommended developer for general use at developing times of 16 minutes for dish development with continuous agitation, or 20 minutes tank development with intermittent agitation at 68°F. Exposures could be reduced to a minimum by doubling the film speed to 200 ISO/ASA in daylight. Cassettes were available in 18 or 36 exposures coded XX135, plus bulk 35mm film in lengths of 27½, 50, 100, and 200 feet for darkroom loading into cassettes. Super-XX was also obtainable in 828 roll film for 8 exposures, coded XX828.

By 1952, 20 exposure cassettes replaced the 18 exposure and by then the film was also manufactured in bulk rolls of 70mm. The sensitivity of the film was known as “Panchromatic Type B” which meant that most subjects taken in daylight reproduced the correct tone of grey in the print. The emulsions used in Type C panchromatic films were slightly over sensitized to red light, making them more suitable for exposures under tungsten lighting. By 1953, Eastman Kodak no longer included the 'sensitizing class' in their film data sheets.

Tri-X sheet film had been on the US market since 1939, but in 1954 Eastman Kodak introduced Tri-X 35mm film and various sizes of roll film with a speed of 200 ISO/ASA to daylight. This speed included a safety factor of at least one stop, and most photographers found they could double this speed to 400 ISO/ASA (when the film was developed in D-76) for the best quality negatives. Even higher ratings were possible in other developers, such as DK-50, or DK-60a, where Tri-X could be exposed at 800 ISO/ASA for press or 'available light' photography.

The first data sheet for Tri-X in 35mm and roll film formats was published as an 'insert' in an Eastman Kodak booklet entitled “Kodak Films”, dated May 1955, where the data sheets for Super-XX 35mm and roll films were also included. In the data sheet, Kodak Tri-X film was described as “A very fast film of moderate graininess for indoor and outdoor use under adverse lighting conditions. It is especially valuable for photography by existing light at low levels of illumination, as well as for work where high shutter speeds are required.”

By 1957 Tri-X films had replaced the Super-XX films apart from Super-XX sheet film. In the next edition of 'Kodak Films', published in January 1958, only the data sheet for Super-XX sheet film was included.

Courtesy of Alan Douglas of Pennsylvania, USA, the picture to the left shows three 35mm cassettes of Super-XX film, found in a travelling trunk used by his late father. The cassettes are believed to date to the 1940s, which corresponds well with the following notes based upon a Wikipedia article.

Super-XX was Kodak's standard high-speed film from 1940 to 1954, at which date Tri-X was introduced in similar formats. Tri-X was twice as fast with finer grain. Super-XX is believed to have been phased out in 1960.

When first placed on the market it was speed rated at 100 ASA (ISO) and was discontinued in roll and 35mm formats around the time of the general speed increase that applied to all monochrome films, and would have increased Super-XX to 200 ISO, due to the exposure safety factor being reduced.

It had a relatively coarse grain, with a very long, almost perfectly straight-line, characteristic curve. Its great exposure latitude made it ideal for variable development techniques, both longer and shorter.

On the left are two rolls of Verichrome Pan roll film, the top dated “Develop Before August 1960”, and the bottom, “Develop Before November 1964.”
Kodak Verichrome Pan film was introduced in 1955 as a panchromatic version of the previous Verichrome (orthochromatic) film. Kodak Verichrome film was sensitive to blue, green and, to a certain extent, yellow light, but was insensitive to red. Anything that was red in the picture came out black, or very dark grey in the print. But the insensitivity to red light was useful in the darkroom, as the film could be handled and developed under a relatively bright red safelight. Verichrome Pan film had to be developed in total darkness, or under a very dim, dark green, safelight.

In 1952 Verichrome film was sold in 8 roll film sizes, the largest being 122 size, which produced a negative of 3¼ x 5½ inches, 6 exposure to one roll of film. Film speed was 50ASA (ISO) to daylight but, because of its insensitivity to red light, the speed dropped to 25ASA (ISO) in artificial (tungsten) light. As far as can be ascertained, Kodak Verichrome film was first sold, in some format or another, as long ago as 1930.

The Verichrome Pan 120 roll film shown below was made in the USA by Eastman Kodak and is interesting because it seems the speed rating in ASA has been stamped onto the carton instead of the usual printing. This may be because, at the time of its manufacture i.e about December 1962, the ASA speeds were being doubled to eliminate the “Safety Factor”. The speed of all sizes of Verichrome Pan films was increased from 80 ASA (ISO) to 125 ASA (ISO) in 1960 to 1961.

To the right is the instruction leaflet that accompanied the film in the carton below. These are dated March 1962

Verichrome Pan film was a replacement for, and an improvement on, the original Kodak Plus-X roll film (see earlier) which had been sold on the UK market since 1951. From 1955, Plus-X film in roll film size was no longer made, but the film continued to be available in 35mm size in 36 exposure cassettes and tins of bulk film, suitable for re-loading cassettes.

In 1963, Plus-X roll film was reinstated as Plus-X Pan Professional film in 120 size rolls, see advert left, believed to date to September 1963.

A single roll box of Plus-X Pan Professional film is shown (top right) in the picture above.
Plus-X Pan Professional film was listed in single 120 size rolls as a “new item” in the “Kodak Buyers’ Guide Professional” in December 1984 in the UK. This film replaced the 120 size Verichrome Pan, although Verichrome Pan continued to be sold in 620 and 127 size roll films, plus the cartridge sizes, 110 and 126. By January 1986 Verichrome Pan was no longer made in the UK. In 1986 Plus-X Pan Professional film was also sold in 5 roll packs of 120 and 220 film. The illustrated roll of film has a “Develop Before” date of March 1991 and is rated at 125ASA (ISO).

In 1987, Kodak T-MAX 100 Professional film became another possible replacement for Verichrome Pan alongside Plus-X Pan.

A 120 roll size of Tri-X Pan film, dating from 1970, is shown lower right in the heading picture. This film has a “Develop Before” date of August 1972.

Tri-X roll and 35mm films in the UK from 1955 to 1971 (not incl. motion picture films)
Tri-X roll and 35mm film was introduced to the UK market as a new item in 1955 in 120 and 620 sizes of roll film and 35mm in 36 exposure cassettes. Bulk film for darkroom loading was available in 1.6 metre lengths for loading into cassettes (size 935) and 5 metre length tins. All films were coded “TX”.

The official Kodak 'Dealers’ Catalogue' for 1956 included two additional roll films, sizes 127 and 828.

The Kodak 'Dealers’ Catalogue' for 1956 described Tri-X as “The fastest Kodak film, is the finest film available for all photography under difficult lighting conditions. It is panchromatic, of moderate contrast, has a wide exposure and development latitude as well as balanced colour sensitivity and a strikingly improved quality of image definition".

The recommended speed from 1955 was 200 ASA/ISO, 24 DIN to daylight, or 160 ASA/ISO 23 DIN to tungsten lighting. Kodak also mention in their description of the film: “These figures are conservative. Exposures based on ratings of 27 DIN (400 ASA/ISO) or even 30 DIN (800 ASA/ISO) will give excellent results with normal development. With forced development still shorter exposures are possible”. This description and speed ratings applied to all sizes of Tri-X film.

It is reasonable to assume that the new Tri-X emulsion originated from the sheet film 'Panchro-Royal' (see below). Panchro-Royal sheet film was introduced in 1955, and much of the emulsion technology for that film may have come from the Eastman Kodak film 'Royal-Pan'. As far as is known, 'Royal-Pan' was introduced in sheet film format only in 1952–53. It had an identical speed to 'Tri-X Panchromatic' sheet film, which was only available in the USA in the 1950s.

Kodak described the image sharpness of seven new emulsions, including improved versions of Panatomic-X, Plus-X and Verichrome Pan films and the new P-1600 Panchro-Royal plate in a booklet entitled: 'Kodak Negative Materials for Professional, Commercial, and Industrial Photography', published in 1957. It states “The most interesting feature of these new emulsions is a notably enhanced image sharpness or 'acutance'. This has been achieved by the perfecting of a new technique of thin film emulsion coating which has led to a significant reduction in light scatter at the boundary edge between highlight and shadow areas. The 'acutance', coupled with other improvements in emulsion making which enables higher speeds to be obtained without increasing the grain size (or alternatively, giving the same speed with even finer grain), puts the new Kodak negative materials in a class by themselves”.

The below instruction leaflet was found in the above roll film carton. Unusually, there is no date or print number at the base of the leaflet, but it is believed it was printed in 1955. The last sentence of the first paragraph mentions that “Users of box cameras will find that subjects in bright sunlight will be overexposed on Tri-X film; Plus-X film is preferable under such conditions”. Hence, it is possible that this leaflet was printed before Plus-X roll film was replaced by Verichrome Pan roll film in late 1955.

The speed of the film (200 ASA or 34 B.S.) includes "A reduced safety factor (x2)....” making the true speed of the film 400 ASA, 34 B.S. to daylight when developed in D-76 developer.

Because of its thin emulsion, Tri-X could not be processed in any developer containing silver halide solvents (see below; Silver Halide Developers and Dichroic Fog).

The name of the film was changed to 'Tri-X Pan' from the beginning of 1960 and the newly named film was then rated at 400 ASA/ISO, 27 DIN. This speed was the minimum speed that the film could be rated to give the least possible exposure before verging into under-exposure. With forced development, exposures could be much shorter. In 1960, Kodak's 'Press Contrast' developer, or Kodak's 'DK-50' developer, were recommended for 'increasing' the film speed using longer than normal development times.

Kodak 'Tri-X Pan Professional' 120 size roll film was introduced into the UK by mid-1961, coded 'TXP'. Kodak's 'Professional News' magazine quoted the qualities of the new film as:
Maximum speed to grain ratio, higher definition, ability to cope with a wide range of subjects and situations, frame numbering, rapid development, fixing and drying times.
Perforated 70mm Tri-X Pan film also became available in 1961.
Following on from the successful launch of Tri-X Pan Professional 120 film, Kodak also introduced an improved version of Tri-X Pan film in roll and miniature sizes (35mm). For a short time from late 1961 the film cartons carried a sticker 'Improved Type'. The new films claimed 'Much finer grain, shorter development times and better definition'.

Tri-X Pan Professional with a speed of 400 ASA/ISO, 27 DIN, was obtainable in packs of ten foil wrapped 120 roll films in an easy to open box with a perforated top. Kodak redesigned the pack in 1962 into a splitable pack of ten rolls to make two packs of five each. On the back of each pack was a blank space numbered 1 – 5 where the photographer could write notes about each exposed film. The new style packs were on sale from early 1963.

Based on the Tri-X Pan Professional 120 roll film packs, 35mm size Tri-X Pan film, also in ten units of 36 exposure cassettes, was introduced in mid 1964. These were labelled 'Tri-X Pan film, Professional Pack' and consisted of the regular Tri-X Pan film rather than the 'Tri-X Pan Professional' 120 film emulsion. Tri-X Pan Professional 120 size film was a slightly different emulsion to the single roll Tri-X Pan 120 film. It is certainly true, however, that, in the late 1960s to 70s, certain photographic dealers were splitting the ten packs and selling separate packs of five rolls of 120 films

In 1965, 20 exposure 35mm cassettes were a new item. Also in 1965, the size 220 roll film was introduced by Eastman Kodak. 220 roll film was twice the length of the normal 120 film, but the 220 film was only provided with backing paper at the start and finish of the roll. 24 exposures were obtainable when using 220 film in a suitably adapted Rolleiflex or Mamiya C3 or C33 cameras. Those photographers who desired to make use of the new size film were advised to contact importers of their make of camera to find out if any conversion kits for changing from 120 size to 220 were available.

Eastman Kodak were making Tri-X Pan Professional 220 films in the USA, and Kodak in the UK were Importing the new size roll film in packs of 20 films only. The film could be ordered on a “special order” basis, with a delivery time of 6 to 8 weeks. The Tri-X Pan Professional film supplied by Eastman Kodak had a speed of 320 ASA/ISO 26DIN to daylight.

In 1967, Kodak UK introduced packs of six 35mm 36 exposure cassettes of Tri-X Pan film labelled 'Tri X Pan Professional Pack' to replace the ten cassette packs supplied since 1964. Similar to the 'Professional' 120 films, these split into two units of three films. Tri-X Pan Professional film in 220 size became generally available at this time.

(References: Kodak Professional and Dealers’ catalogues and price lists, 1955 to 1971; British Journal Photographic Almanacs 1956 and 1957; Eastman Kodak Data book “Kodak Films” 1955; Kodak booklet 'Kodak Negative Materials for Professional, Commercial and Industrial Photography', 1957; Kodak 'Professional News' magazines 1960 to 1967.)

220 Size Tri-X Roll Film
As far as is known, the 220 size of Tri-X Pan Professional film was initially been manufactured in the USA. Eastman Kodak introduced this new size as long ago as 1965 and, at that time, Kodak Ltd in the UK were importing the film in 20 roll packs to Special Order only, with a delivery time of 6 to 8 weeks. However, demand for the film must have increased towards the late 1960s as by 1968 it is likely that the 220 size (coded TXP 220) was being made in the UK together with the 'normal' 120 size film (coded TXP 120). The 120 size film was sold in 10 roll packs and the 220 in 20 roll packs (Ref: Kodak Professional Catalogue for the UK; 1968). Both films were rated at 400 ASA (ISO) and there is nothing in the entry in the 1968 catalogue to suggest that the film was imported from the USA. In 1971, the quantity of 220 size film was halved to 10 rolls per pack.

Sometime between 1974 and 1980 Kodak UK gave up manufacturing 220 size Tri-X and reverted to importing it from the USA. The speed was changed to 320 ASA to match the speed of the sheet film. At that time, 5 roll packs of both 120 and 220 sizes became available (Ref: Kodak Professional Catalogue; 1980).

Tri-X Film Availability Chronology

Tri-X at 200 ASA (ISO)
Year	Roll Film Sizes	35mm Film
1955	120; 620	36 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes.
1956	120; 620; 127; 828	36 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; 5 metre bulk film lengths.
1957	120; 620; 127; 828	36 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; 5, 17 and 25 metre bulk film lengths (see Footnote 1) Walking Picture Film (see Footnote 2) in 200 ft and 400 ft lengths.
1958	120; 620; 127; 828	36 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; Walking Picture Film (see Footnote 2) in 200 ft and 400 ft lengths. 5 and 17 metre bulk film lengths (see Footnote 1)
1959	120; 620; 127; 828	36 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; Walking Picture Film (see Footnote 2) in 200 ft and 400 ft lengths. 17 metre bulk film lengths (see Footnote 1)
The 1957 to 1960 supply situation remained unchanged In 1960, Tri-X became renamed Tri-X Pan with the revised speed of 400 ASA (ISO) Tri-X Pan Professional available in 120 roll film size from mid-1961 and also 220 roll size from 1965.
1960	120; 620; 127; 828	36 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; 5 and 17 metre bulk film lengths; Walking Picture Film in 200 ft lengths (Note 2).
1961	120; 620; 127; 828 Tri-X Pan Professional: 120 in ten roll packs.	36 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; 17 metre bulk film lengths; Walking Picture Film in 200 ft lengths (Note 2).
1962	120; 70mm x 100 foot; 620; 127; 828 Tri-X Pan Professional: 120 in ten roll packs.	36 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; 17 metre bulk film lengths; Walking Picture Film in 200 ft lengths (Note 2).
1963	120; 70mm x 100 foot; 620; 127; Tri-X Pan Professional: 120 in ten roll packs.	36 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; 17 metre bulk film lengths; Walking Picture Film in 200 ft lengths (Note 2).
1964	120; 70mm x 100 foot; 620; 127; Tri-X Pan Professional: 120 in ten roll packs.	36 exposure cassettes single and ten roll packs; 935 = 36 exposure lengths for loading into cassettes; 17 metre bulk film lengths; Walking Picture Film in 200 ft lengths (Note 2).
1965	120; 70mm x 100 foot; 620; 127; Tri-X Pan Professional: 120 in ten roll packs and 220 in 20 roll packs (the latter to special order).	36 exposure cassettes single and ten roll packs; 20 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; 17 metre bulk film lengths; Walking Picture Film in 200 ft lengths (Note 2).
1967	120; 70mm x 100 foot; 620; 127; Tri-X Pan Professional: 120 in ten roll packs and 220 in 20 roll packs more generally available.	36 exposure cassettes single and six roll packs; 20 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; 17 metre bulk film lengths; Walking Picture Film in 200 ft lengths (Note 2).
1968	120; 70mm x 100ft Tri-X Pan Professional: 120 in ten roll packs and 220 in 20 roll packs.	36 exposure cassettes single and six roll packs; 20 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; 17 metre bulk film lengths; Walking Picture Film in 200 ft lengths.
as above until 1971	120; 70mm x 100ft Tri-X Pan Professional: 120 in ten roll packs and 220 in ten roll packs.	36 exposure cassettes single and six roll packs; 20 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; 17 metre bulk film lengths; Walking Picture Film in 200 ft lengths (Note 2).
as above until 1974	120; 70mm x 100ft Tri-X Pan Professional: 120 in ten roll packs and 220 in ten roll packs.	36 exposure cassettes; 20 exposure cassettes; 935 = 36 exposure lengths for loading into cassettes; 17 metre and 99 feet (30m) bulk film lengths; Walking Picture Film 5063 in 61 metre lengths (200 ft) (Note 2).

Foonotes:

1) The 25 metre bulk length of Tri-X film was included in a Supplementary Price List for November 1957 but the item was not listed in the official UK 'Kodak Professional Catalogue' for 1957. Also the 17 metre tins of bulk film were not included in the Supplementary Price List but were listed for sale in the catalogue. The author does not think there was a printing error because the prices are correct 'pro-rata' compared to the 1957-58 prices of the 5 metre tins of bulk film (allowing that there was a decrease in film prices in 1958).

2) 'Walking Picture Film' was sold as 'bulk film' for beach and street photographers who wanted to cut any convenient length of film off the bulk roll that was needed at the time. Price per foot matched the 17 metre tins of film. It was only available in 35mm and lasted in this form and name until the late 1970s, when it became known as Tri-X Pan film was offered in 50 foot and 100 foot lengths.
(Ref: Kodak Buyers Guide Professional January 1981).
It seems Kodak UK quoted both metric and imperial lengths in some early 1970s catalogues.

Technical Pan Film 2415 and Technidol LC Developer
Technical Pan Film 2415 was introduced by Eastman Kodak in 1982. The August 1982 Kodak leaflet describes the film and developer combination as is transcribed below:
The complete leaflet, as a pdf, can be downloaded here.

WITH Kodak TECHNICAL PAN FILM 2415 AND Kodak Technidol LC DEVELOPER, YOU CAN NOW GET 4x5 OUALITY FROM YOUR 35 mm CAMERA.
You probably admire the high resolution and extremely fine grain of black-and-white enlargements made from large-format negatives. And chances are, you wish you could produce prints of comparable sharpness from 35 mm negatives, giving yourself the freedom to enlarge and crop in printing while still having the convenience of a 35 mm format. Now you can.

You will now be able to make beautiful enlargements with extremely fine detail and virtually no grain while still enjoying the versatility of your 35 mm camera. That's the payoff when you use KODAK Technical Pan Film 2415 and TECHNIDOL LC Developer. Technical pan is an incredible film. It was introduced originally to serve the needs of the scientific or technical photographer. Happily, it was discovered that the same emulsion, processed in a compensating-type developer, opened fabulous new possibilities in the realm of pictorial photography and enlargement capabilities.

That's because Technical Pan Film has the highest resolution (400 lines/mm) and the finest grain of any pictorial black-and-white film Kodak has ever made! What that means to you is that you can now make tack-sharp enlargements up to 50X or larger. Abstract small areas of 35 mm negatives and enlarge them without sacrificing sharpness or accentuating grain as you have in the past.

Getting the full measure of benefits from Technical Pan Film requires a special kind of developer, and TECHNIDOL LC Developer is something special. One of the virtues of Technical Pan Film is its wide contrast latitude. We have developers that provide the kind of high contrast that makes the film a logical choice for copying, recording low-contrast microscopic specimens, and other scientific applications.

For pictorial photography, you require a developer that can reproduce the entire tonal scale. That's why we recommend TECHNIDOL LC Developer. With it, you can obtain a pictorial range Contrast Index from 0.4 to 0.7. Higher contrast levels up to 3.9 for copy work and reverse type slides are possible using other Kodak developers.

TECHNIDOL LC Developer is easy-to-mix, and is sealed in a foil pack containing enough powder to process two rolls of 35mm 36 exposure film.

As you'd expect from an extremely fine grain film, Technical Pan Film has a (low) emulsion speed of El 25 (ASA/ISO).

The film's resolving power is much higher than that of all but the most expensive lenses. It can actually help you evaluate your lenses and discover the apertures at which they perform best. You may also wish to use a tripod for those more critical applications. And Technical Pan Film may change your ideas about depth of field. You may think depth of field has discrete limits e.g from 11 feet to infinity, but you'll discover that although focus is acceptable over this range, it's actually sharpest at the point focused upon and decreases in sharpness on either side.

But the most important thing Technical Pan Film and TECHNIDOL LC Developer is the satisfaction of making beautiful black-and-white, fine-grain enlargements that capture the world around you in striking detail.

Technical Pan Film was available as 35mm 36 exposure rolls, long rolls and 4 x 5 inch sheets. And TECHNIDOL LC Developer could be purchased in handy 3-packs.
A footnote to the Sheet Film availability read:
"Sheet film is cut from the filmmaster roll and will require special handling in both exposure and processing".

The packaging in the Kodak leaflet refers to the film having an Estar-AH base.

Below:
Plus-X sheet film boxes. On the left, Plus-X sheet film of 4¾ x 6½ inches, dating from 1955. Plus-X sheet film was introduced in 1955 to replace Panatomic-X sheet film. The box illustrated carries the first design of the Plus-X sheet film label.

The instruction sheet gives a speed of 64ASA (ISO) to daylight, or 50ASA (ISO) to tungsten light. No “Develop Before” expiry date is printed on the box.

New yellow packaging for black and white sheet film boxes was introduced about 1957. The right hand box shows a 4 x 5 inch Plus-X box with an identical sealing label (red; Kodak Sheet Film Plus-X) to the 1955 box.

Below:
Rear sealing labels of the Plus-X box above right with the red sealing label, and the box of Plus-X below left with the black sealing label.

These labels state recommended developers and safelight information.

Below:
Plus-X sheet film was replaced by Plus-X Pan sheet film in March 1962. By this time the sealing labels were printed in black. The left hand box dates from 1961.

The new Plus-X Pan film was described in an instruction sheet as a “medium speed panchromatic film of very fine grain and high acutance, permitting a considerable degree of enlargement”. Improvements over the old Plus-X film included higher sharpness, finer grain, better exposure latitude, and reduced drying times. As the new film had inherently higher contrast, the development times were drastically reduced. Kodak D-76 developer was the standard developer for processing the film. The development time for the old Plus-X sheet film was 17 minutes at 68°F for large tank development. The new time for Plus-X Pan film was 8 minutes at 68°F for large tank development.

Kodak London received several letters of complaint from customers who were getting very high contrast negatives on the new film. These customers were using the old development time for the new film! The answer was, of course, "please read the instruction sheet", where the new development times were given. To download a June 1963 leaflet that mentions the recommended lower speed rating (160ASA becoming 125ASA) introduced at that time, click here. It also shows, on the second page, the reduced development times. The new decreased D-76 developer development time for the sheet film was 8 minutes tank development instead of 17 minutes at 68°F (20°C). The times for Microdol X development were also decreased.

In 1963 there was another design of sheet film box for the new Plus-X Pan film. The right hand box dates to October 1964.

Below:
The new labelling, “Kodak Professional Film” for sheet film boxes, was introduced at the end of 1965, as the right hand box.

The left hand box shows the new label, together with an “Estar Base” box label. By 1966 the emulsion for Plus-X Pan film, and other sheet films, was being coated onto a polyester plastic film base. Previously, most sheet film emulsions were coated onto a non-inflammable tri-acetate base (referred to as 'Safety Film'). The “Estar Base” was thinner and had excellent dimensional stability.

Below:
Kodak UK added 'Professional' to their labels for Plus-X Pan sheet film with an Estar base, in 1968. In the USA, Eastman Kodak had begun coating Plus-X Pan sheet film emulsions onto an 'Estar' thick base in 1964.

The left hand box shows an American version of Plus-X Pan Professional film made by Eastman Kodak at Rochester, New York with a 'Dev Before' date of November 1970. In use, the film was almost identical to the equivalent UK manufactured Plus-X (right hand box) with a 'Dev Before' date of October 1973. The only difference was that all Eastman Kodak black and white sheet films were 'Code Notched', similar to colour sheet films. Both these films were rated at exactly the same speed and were given exactly the same development.

Below:
On the left is the back label of a UK made Plus-X sheet film ('Estar' thick base) box dating from 1966, before the appearance of the "Professional" label; "Dev Before" date of April 1968.

The other back label is of a UK made box (4147 thick base) dating from 1971; "Dev Before" date of October 1973.

Panchro-Royal (to Royal-Pan to T-max 400 or Tri-X Professional)
In the British Journel Photographic Almanac (BJPA) for 1956 (hence likely referring to goods available in the latter half of 1955), Kodak listed their films available as:

Sheet Films: Included in the range are the new, very fast 'Panchro-Royal' and versatile 'Plus-X'. There are also the well-established favourites 'Super-XX' and 'Ortho-X.'
Roll Films: Extremely fast, but with fine grain for its speed, is the new 'Tri-X'. 'Plus-X' is the classic all-rounder. 'Panatomic'-X the favourite for big grain-free enlargements. These are all panchromatic.
An orthochromatic film, and the choice of millions of snapshotters, is 'Verichrome,' which has exceptional exposure and development latitude.
Miniature Films: 'Tri-X' and 'Plus-X' films available for 35 mm and 'Bantam' (828 size film) cameras, with 'Panatomic-X' Film also available for 35mm but not for Bantam.

The BJPA review of Panchro-Royal sheet film described it as rated at 200 ASA (ISO) to daylight and 160 ASA (ISO) to artificial light, twice as fast as Super-XX and Super Panchro-Press sheet films. "The new film replaces Super Panchro-Press as a medium for use in almost every branch of photography where a high speed panchromatic film is required. A wide range of tests reveal that Panchro-Royal combines many important qualities, outstanding of which is its amazing latitude in regard to exposure and development. Two to three times above normal exposure does not degrade the image or materially increase the grain size, while under-exposure in poor lighting conditions, coupled with over-development, does not greatly increase contrast. Colour balance is good both in daylight and artificial light. With the exception of DK.20 and any such formulae containing thiocyanates, hypo, or any other powerful halide solvent which must not be used, the behaviour of Panchro- Royal in normal and fine-grain developers is consistently good. Panchro-Royal has the useful property of maintaining a reasonably fine grain regardless of the type of developer used".

When the 'Speed Safety Factor' for Kodak black and white films was abolished in 1960, the speed of Panchro-Royal sheet film was increased to 400 ASA/ISO for minimum exposure and Kodak UK catalogues dating from 1961 stated the same increased speed. In the author’s experience of exposing many sheets of 4 x 5 inch Panchro-Royal in the late 1960s and 1970s, the film possessed a slightly higher contrast compared to Kodak Tri-X Pan Professional sheet film. In 1978 the name of the film was changed from Panchro-Royal to the name of the Eastman Kodak version of the film viz. 'Royal-Pan'. Royal-Pan sheet film was no longer obtainable by the mid-1990s and T-Max 400 Professional or Tri-X Pan Professional sheet films were suggested as replacements.

The new high-speed emulsion was also available in plate form, where it was known as Kodak P.1600 Panchro-Royal Plate.
This had a high emulsion speed even at short development times; fixing, washing and drying times had all been reduced to a minimum. Where lighting conditions were unusually poor, forced development still gave high emulsion speed. Colour sensitivity was well balanced and graininess was low.

Tri-Acetate to Estar Thick Base for Black & White Sheet Films in the UK
Changes to black and white sheet film supports from a tri-acetate base support to a polyester plastic were announced in June 1966. The polyester plastic base provided greater dimensional stability, much greater resistance to damage, and the sheets of film laid “flatter” in the darkslide and in the negative carrier of the enlarger.

Kodak had tried coating the emulsions of certain Graphic Arts sheet films onto a more shrink resistance plastic than the tri-acetate base before 1966. Since the 1950s, early Kodalith Ortho films, such as Kodalith Ortho P.B. Type 3 film, were made by coating the emulsions onto a polystyrene base (P.B). The film is described as having “remarkable dimensional stability for all jobs demanding size holding and exact register”. The film was available in 1960 in 0.005 inch and 0.010 inch base thicknesses. By mid-1961 the emulsions of several Kodalith films, plus others, were being coated onto a polyester base, Kodak trade mark “Estar”.

The first two general purpose sheet films to change to a polyester thick base were Plus-X Pan and Panchro Royal films. Kodak’s trade mark “Estar” for the new base support was printed next to the film title on the labels – see above: picture of 'Plus-X Pan film box, develop before date of April 1968' for one of the earliest examples. For most general purpose sheet films, the new polyester base was 0.007 inches thick, slightly thinner than the old tri-acetate base at 0.008 inch.

Several of the Graphic Arts films were obtainable with much thinner bases than 0.007 inches. The base supports of Royal-X Pan and Kodak Process films were changed to polyester later in 1966. For “Estar” base sheet films, Kodak changed the first digit of the film number from 6 to 4 for most of their general purpose films. Plus-X Pan became 4147 instead of 6147, Panchro-Royal became 4141 instead of 6141.

Super XX sheet film was introduced in 1940 as a very fast panchromatic film with grain fine enough to permit a reasonable degree of enlargement without showing objectionable grain size on the print. The film gave a good reproduction of colour rendering in black and white tones and was not unduly sensitized to red light. It was particulary useful as a sheet film for portraiture in the studio. The film speed (in 1940) varied slightly according to the developer used to process the film, though only by two thirds of a stop.

In D-76 developer: 32 Kodak speed, approx. 125 ASA (ISO). Fine Grain.

In a general purpose developer, DK-50, DK60a: 31 Kodak speed, approx. 100 ASA (ISO). Medium Grain.

In DK-20 developer: 30 Kodak speed, approx. 80 ASA (ISO). Finest Grain, similar to Kodak Microdol, but was a “silver solvent” type of developer.
(Kodak Microdol developer was first marketed in 1945, first sold in the UK about 1950).

In 1954 Kodak described the film in their catalogues as having soft gradation, great exposure latitude and with a very long exposure scale. Super XX sheet film was the recommended film for making colour separation negatives, either by photographing the subject directly, or by making the negatives from a colour transparency when the photographer wanted to obtain colour prints by the Dye Transfer process.

The speed of the film was given as 31 Kodak speed, 100 ASA (ISO) for daylight exposures, or 29 Kodak speed, 64 ASA (ISO) for exposing under tungsten lighting.

The 1954 Kodak catalogue also offered “Super Panchro Press” sheet film for sale. This sheet film was very similar to Super XX (same speed), but was stated to possess a higher contrast with shorter development times, about two thirds of Super XX development times. Super Panchro Press sheet film was replaced by Panchro Royal sheet film in 1955.

By 1956 the speed of Super XX had increased to 125 ASA (ISO) for daylight, 100 for tungsten. Then, in 1961, Kodak increased the film speeds of most of their black and white films by removing the previous exposure “Safety Factor”. This effectively doubled the speed although the films themselves did not change. The Kodak 1961 UK catalogues rated Super XX sheet film at 200 ASA (ISO) for daylight and tungsten lighting.

The film was re-named “Super XX Panchromatic” in 1962 and remained on the UK market until 1967.

Kodak “Separation Negative Film” replaced Super XX as the recommended film for separation negatives for the Dye Transfer process.

The only other Kodak UK film named Super XX in 1967 was “Super XX Aero film” which lasted until 1971, then replaced by “Plus X Aerographic film 2648”.

In 1973, Kodak UK introduced “Double X Aerographic film”. Eastman Kodak at Rochester, USA, continued to manufacture “Super XX Pan” sheet film coated onto an “Estar” thick base.

On the left is a Super XX sheet film box dating from the late 1940s to the early 1950s. Sheet film was packed in multiple quantities of one dozen until 1952 – this box shows two dozen. After 1952 most sheet film was packed in quantities of 25 sheets to the box.

The right hand box dates from 1940 to around 1946 to 1948, 12 sheets of 2 ½ x 3 ½ inches. There are no “Develop Before” dates on either box, Kodak U.K. started printing “Develop Before” dates on black and white sheet film boxes in the late 1950s.

On the left is a box of Eastman Kodak made Super XX Pan sheet film dating from 1966.

The right hand box is a UK manufactured Super XX Panchromatic film box dating from 1965. It is thought that the “Develop Before” date is January 1967.

Super-XX ¼ plate (3¼ x 4¼ inches) sheet film (right hand box, above) dating from the late 1940s to very early 1950s when sheet film was packed as 24 sheets to the box. Although both these films were first introduced around 1939-40, the boxes shown in the above picture date from the late 1940s to early 1950s. This is known because the design of the Kodak UK sheet film box changed about 1946-48.

Super-XX was a fast panchromatic film rated at 100 ASA (ISO). In the late 1940s it was the fastest Kodak film available in the UK. It was suitable for press photography, studio work, action photographs, and portraits. As far as I can find out, Super XX sheet film was introduced in the UK in 1940, to replace Kodak “Super Sensitive Panchromatic” sheet film.

Panatomic-X sheet film, an extremely fine grain panchromatic film rated at 32ASA (ISO). It was suitable as a general purpose film, especially useful when the negatives had to be enlarged greatly. Panatomic-X sheet film was introduced in the UK in 1939 as an improved version of Kodak Panatomic sheet film. Panatomic-X sheet film in the UK lasted until 1955, when it was replaced by Plus-X sheet film (see above), which was double the speed. In the USA, Eastman Kodak marketed their version of Panatomic-X sheet film until the late 1960s

This box of ¼ plate film (left hand box, above) of 25 sheets to a box, dates from between 1952 and 1955. Kodak in the UK started packing 25 sheets to a box in 1952 in sizes up to 20 x 24 inches. Both boxes of sheet film are difficult to date accurately because Kodak never printed “Develop Before” dates on their boxes until the late 1950s.

In the UK
Super Panchro-Press sheet film was introduced in the USA in 1939 and became available in the UK the same year. It is not known if the film was actually made in the UK or had to be imported from the USA. The British Journal Photographic Almanac (BJPA) for 1940 includes the film in the Kodak advertising section and Kodak describes the film as being a replacement for Kodak Panchro-Press sheet film but with double the speed.

The BJPA for 1941 gives the speed of “32 Kodak” or approximately 125ASA (ISO). This speed included the usual (pre-1960) “Safety Factor” of about one stop. The film could be exposed using a rating of approximately 250ASA (ISO) with little danger of under exposure.

The “New Goods” section in the 1941 BJPA states the film has a “Grain Size” of 1/8,000 inch (0.003 mm) which the reviewer believed to be “almost a fine grain value”! He went on to state “The material is outstanding in respect of low background fog and cleanness and speed of processing”.

The Kodak Professional Catalogue for 1940 gives the following description:
Super Panchro-Press is an extremely fast film particulary suitable for day or night photography of all kinds. It is characteristic of the film that if it is slightly underexposed and overdeveloped it’s effective speed is greater than when it is given normal exposure and development. Its exposure latitude is much greater than is ordinarily the case with ultra-high speed materials. The emulsion has an abrasive over coating and is physically hardened to withstand the rough treatment often given to photographic materials in press and commercial work.

When developed in Kodak D-76 developer the speed given was "32 Kodak" in daylight and "31 Kodak" in Tungsten lighting. In 1940, Super Panchro-Press was obtainable in sizes from 3½ x 2½ inches to 8 x 10 inches in boxes of 12 sheets; changed to 24 sheets in 1946.

The emulsion had a “Type C” sensitivity, which meant that it had a greater sensitivity to red light (known as “Increased red sensitive panchromatic”), than a “Type B” sensitized film. “Type B” sensitivity meant that the emulsion was evenly balanced to all colours throughout the colour spectrum (known as “Correct panchromatic”). In the early to mid 1940s, the sensitivity was changed to Type B to give a more correct rendering in black and white tones.Type B and Type C films were both panchromatic, but the type C film had a greater sensitivity to red light.

(For information: Type B panchromatic film would reproduce red, green, and blue objects in the same tone of grey but a Type C panchromatic film would render red objects slightly lighter in the print).

By 1954 the speed had been decreased to 100ASA (ISO) or "31 Kodak" for daylight. A Kodak Catalogue for 1954 stated that the developing and fixing times were two thirds of those recommended for Kodak Super XX sheet film. Super XX was exactly the same speed but with a lower inherent contrast. The film was now packed in boxes of 25 sheets. Super Panchro-Press film was replaced by Panchro Royal sheet film in 1955.

In the USA
Super Panchro-Press sheet film was introduced in the USA in 1939 as “Eastman Super Panchro-Press Safety Film, (Antihalation)” with a “Type C” sensitized emulsion. Type C emulsions were more sensitive to the red end of the spectrum (orthochromatic) than Type B films having “normal” sensitivity (panchromatic), producing a “more correct” rendering of colours in black and white tones. One advantage of this increased red sensitivity was that the film was suited for “available light” photography i.e. taking pictures indoors under dim tungsten lighting.

The film speed was given as a Kodak American speed of Kodak 500, or roughly 125ASA (ISO), but this included a (pre-1960) “Safety Factor” of about one stop. Good results could be obtained when the film was exposed at Kodak 1000, or about 250ASA (ISO). Super Panchro Press sheet film eventually replaced the much slower Panchro-Press sheet film (approximately 50ASA (ISO), although both films were available for sale in the USA in the early 1940s.

A modified version of Super Panchro-Press sheet film introduced in the early 1940s was “Super Panchro-Press, Sports Type”. This film was rated at double the speed i.e. Kodak 1000 with the usual “safety factor”, or Kodak 2000, approximately 500ASA (ISO), if the safety factor was ignored. When processed in certain developers, the speed could be increased even more. Kodak D-82 (needed to be made up to a formula), or Kodak D-19 (ready packaged), could give a realistic speed of around 1000ASA (ISO).

The film was originally intended for photographing sports events under tungsten lighting or very weak daylight using high shutter speeds but was suitable for any “available light” situation. The film had a “Type C” (Increased red sensitive panchromatic) sensitivity. Between 1941 and 1944 the sensitivity of Super Panchro-Press, Sports Type, film was changed to a “Type B” sensitivity (fully Panchromatic). It was the fastest film in the world until manufacture ceased in 1951.

By 1960, the Safety Factor of Super Panchro Press Type B film had been removed and the speed was then rated at 250 ASA (ISO). An Eastman Kodak catalogue for 1961 describes the film as “one of the most versatile films in the Kodak line. It has high speed, excellent colour balance, and wide latitude in exposure and development”.

The film gained the film number of 6146 in 1970 but, unlike other sheet films, the emulsion was never coated onto an “ESTAR” thick base.

In 1973, the film was obtainable in sizes from 2½ x 3½ inches to 8 x 10 inches in 25 sheet boxes, plus 4 x 5 inches and 5 x 7 inches in 100 sheet boxes, and 8 x 10 inches in 50 sheet boxes.

Manufacture ceased in 1974 leaving Tri-X Pan Professional 4164 sheet film, “ESTAR” thick base, as the nearest equivalent replacement.

Kodak Commercial Ortho sheet film was a medium speed Orthochromatic film, sensitive to blue, green, and partly sensitive to yellow light. As the film was insensitive to red light, it could be handled in the darkroom using light from a dark red safelight filter. It could also be handled in the darkroom by indirect lighting, with the safelight pointing towards the ceiling, using a Kodak Wratten Series 2 safelight filter (Dark Red); see reverse of boxes in the second picture, below.

The speed of the film in 1967 was 50 ASA/ISO to daylight. It possessed medium contrast, but was capable of giving high contrast by developing in Kodak 'Press Contrast' developer, Kodak D-11 developer, or Kodak D-19 developer. For normal contrast Kodak DK-50 was recommended, or Kodak D-76 for finer grain and longer development times.

Its uses included copying continuous tone photographs or artwork, industrial photography where red sensitivity was not important, landscapes, and portraiture of men in daylight where it is said the results gave men a more “rugged” look. The film was too slow for portraiture in the studio using tungsten lighting as that form of lighting decreased the film speed to 16 ASA/ISO. Electronic flash could be used in the studio or elsewhere, rating the film at the normal 50 ASA/ISO.

A new design of sealing labels for black and white sheet films was introduced in 1969 and the label now included the film number, 6180, printed on the right hand side of the label. In 1986 the film was available in sheet sizes from 2¼ x 3¼ inches to 8 x 10 inches plus a 9 x 12 centimetre size. By 1973 less inch sizes were obtainable and no centimetre sizes, but by the next year two centimetre and one inch size had been reinstated.

It is likely manufacture of Commercial Ortho sheet film ceased in the mid 1970s (perhaps 1977). By 1978 the film was not listed in any of the black and white films table for “suggested development times (in minutes) for some Kodak black and white general purpose films”. Commercial Ortho film was also not found in a table of development times for 'specialist films'.

Tri-X Ortho film was suggested as an alternative to Commercial Ortho. Tri-X Ortho film, Estar thick base, 4163, was very similar to Tri-X Pan Professional film 4164, but was insensitive to red light. The film was identical in speed, 320 ASA/ISO to daylight, but decreased to 200 ASA/ISO for exposures in tungsten lighting. Tri-X Ortho was first sold in the UK in 1968 as a replacement film for 'Ortho Royal' sheet film.

Commercial Ortho History
The history of Commercial Ortho film is believed to date earlier than 1923, but at present 1923 is the earliest date of information available to the author.

In 1923, 'Eastman Commercial Ortho' film was available in sheet sizes from 4¼ x 3¼ inches to 24 x 18 inches, packed 12 sheets to a box. The film was described as :- “... suitable for all kinds of work where colour sensitiveness is required but not sensitiveness to red. Used with K-1 or K-2 Wratten filters, it gives correct rendering of yellows in photography of oak, unpolished mahogany furniture or similar subjects”. No film speed was given in the 1923, 1933, or 1935 Kodak catalogues.

The K-1 filter was a pale yellow, and the K-2 was slightly darker yellow than K-1. Yellow filters used in black and white photography darken anything blue in the subject, and make yellows lighter in tone, or a lighter grey in the black and white print. At the end of the 1940s, Kodak changed the designation of most of their filters and the K-2 became “Wratten Series 8”. As far as can be found, the K-1 was no longer manufactured from the early 1950s. The two filters were very similar in strength.

As the film was insensitive to red light, it could be handled in the darkroom under a 'Wratten Series 2' dark red safelight filter. A slightly lighter filter, 'Wratten Series 2A', was recommended for safelights with oil burners and with the 'Wratten Ceiling Reflector' lamp, where the light from the lamp was reflected off the ceiling.

In 1939 the film was known as 'Kodak Commercial Ortho Film' and the speed of the film was '26 Kodak' to daylight, or '22 Kodak' to tungsten light. This equated approximately to 32 ASA/ISO for daylight and 12 ASA/ISO to tungsten if the film was developed in Kodak D-76 developer. When Kodak Extra Fine Grain DK-20 developer was used, the film speeds became slightly less, and it was advisable to double the exposure. In 1939 Commercial Ortho film was available in sizes from 2¼ x 3¼ inches to 10 x 12 inches in boxes of one dozen films.

Kodak in 1954 described the film as a “Moderately fast orthochromatic film of fairly vigorous contrast. Its safety film base has a magenta-dyed anti-halation backing which clears during development”. The uses of the film were: “All technical, commercial and record purposes not requiring the highest speed or panchromatic colour sensitivity. Copying, clinical photography, photomicrography, finger print photography”. The film speed in 1954 was 25 ASA/ISO to daylight, or 8 ASA/ISO to tungsten light. The film sizes available in 1956 were 3¼ x 2¼ inches to 14 x 17 inches and there were 7 centimetre sizes. The film was then packed 25 sheets to a box.

The film speeds of most Kodak sheet films prior to 1960 included a 'Safety Factor'. The film speeds printed in the instruction sheets were half the 'true' speeds of the films - see the Commercial Ortho film speed in the 1957 instruction sheet (left hand side, below). From 1961 onwards, the speeds of most black and white films were doubled, such that 'Commercial Ortho' was then 50 ASA/ISO to daylight and 16 ASA/ISO to tungsten light when developed in Kodak D-76 developer. Kodak Microdol developer produced very fine grain with a slight speed loss, while Kodak D-61a developer gave a higher contrast with shorter development times than D-76.

In 1967, in line with other black and white sheet films, the emulsion was coated onto a polyester, thermo plastic material, film base. The Kodak trade mark for this new base was 'ESTAR'. This improved dimensional stability and there was less tendency for the base to curl, making it easier to load into darkslides. Previously sheet films were coated onto a thicker tri-acetate support base. The film number was changed from 6107 to 4180, the “4” designated the polyester film base, and the film name was changed to 'Commercial Ortho Film – ESTAR Thick Base'. There was a slight speed increase, from 50 ASA/ISO to 64 ASA/ISO and the film could then be rated at 40 ASA/ISO in tungsten lighting.

The new design of sealing label for black and white sheet films introduced in 1969 included the film number 4180 printed on the right hand side of the sealing label.

References:
Kodak catalogues, professional and dealer, 1923, 1933, 1935, 1940, 1954, 1957, 1960, 1961, 1968, 1969, 1971, 1973 and 1974.
Kodak Handbook for the Professional Photographer, Volume 2, July 1978.
Price list: Kodak price list 1956.
Kodak manual 'How to make good pictures', published 1951.
Kodak Professional News, June 1966.

Kodak Fine Grain Positive Film (as manufactured in the UK from the mid 1930s)

Fine Grain Positive film was intended for making positive black and white transparencies from 35 mm negatives. It was blue sensitive (sensitive to blue and white light only) and was approximately the same speed as a Kodak black and white printing paper. The film could be handled in a darkroom under the same lighting conditions as black and white printing papers i.e. Kodak safelight filters OA, OC and the earlier OB filter. A red safelight, such as Kodak 1A, could also be used for increased safety. When processed, the film base appeared completely clear, as there was no anti-halation backing or base tint.

35mm negatives were usually contact printed onto this film, and the length of exposure was similar to contact exposure onto a Kodak enlarging paper.

The tins of 35mm film contained no instruction leaflets, but the instruction sheets for Kodak D-163 Developer listed Fine Grain Positive Film development times. D-163 was a general purpose black and white print developer for processing Kodak enlarging papers. For Fine Grain Positive Film, the stock solution was diluted 1 part developer with 3 parts water, and the film developed for 1½ to 2 minutes at about 68°F (20°C). Development times varied from 2½ minutes at 64°F (18°C), to 60 seconds at 75°F (24°C). Although Kodak recommended their D-163 developer, any enlarging paper developer could be used successfully with the film.

In the 1960s to 70s, the film was sold in the UK in 5 and 17 metre lengths. In the USA, the 35mm film was obtainable in 100 foot tins, and a sheet film version was available in various sizes, 4 x 5 inches to 11 x 14 inches (1972).

The author purchased a 5 metre tin of Fine Grain Positive Film in late 1966 with the intention of making some black and white transparencies from 35mm negatives. The film was processed in a Johnson Print developer, possibly “Johnson Bromide”, or “Johnson Con-Sol”. Most of the transparencies were rather soft, and due to lack of experience in those days, I never tried processing the film in a more energetic developer, such as Kodak D-11 or Kodak D-8. The author had more success when using the film to make black and white internegatives from colour transparencies, and copying black and white photographs. As the film was blue sensitive, the tonal rendering of the prints made from the internegatives was, in theory, wrong, but in practise, this made little difference to the quality of the prints.

Positive Film: History, Use & Chronology
In the 1930s, Kodak was using various types of blue sensitive films to make prints from negatives taken in motion picture cameras.

A negative cine film in 35mm or 16mm format, such as Kodak Super X film, was exposed in a cine camera and then processed to yield a negative image. A positive print from the negative film was made by printing onto a blue sensitive film resulting in a positive print suitable for projection. The usual method was to make a positive print from all of the material exposed in the camera, edit this print, and then edit the original negative to match precisely to the already edited print. The edited negative was used to make as many copies of the film as needed.

A better method was to print the edited positive onto the blue sensitive positive film to make a duplicate negative. This edited duplicate negative was used to make any number of prints, printing the duplicate negative onto the positive film. Printing from a duplicate negative protected the irreplaceable original negative from damage by careless handling. Another advantage of this method was any number of duplicate negatives could be made.

First Method:
Camera original negative printed onto positive film.
This positive print is edited.
Original negative is then edited to match edited positive print.
Edited negative is used to make any number of prints.

Second method:
Camera original negative printed onto positive film (possibly Fine Grain Duplicating Positive 1365, see below).
This positive print is edited.
Edited positive print is printed back onto positive film to make an edited duplicate negative (possibly Fine Grain Duplicating Negative 1203, see below).
The duplicate negative is used to make any number of prints thus preventing damage to original negative shot in camera.

Three types of film were manufactured by Kodak in the 1930s for printing and duplicating purposes.
Fine Grain Duplicating Positive 1365. This was blue sensitive.
Fine Grain Duplicating Negative 1203. This was panchromatic, sensitive to all colours.
Kodak Positive Film 1301. This was for making prints from 1203 and was most likely blue sensitive.

It was likely that Fine Grain Duplicating Negative 1203 was sensitive to all colours (panchromatic), because colour filters could be used to change the tonal rendering of scenes when making duplicate negatives.

These motion picture films were intended to be sold to motion picture film processing laboratories in lengths of up to 2000 feet. They were not available for sale to the amateur photographer.

Sometime during the 1940s, Kodak Positive Film was made available to “Film Strip Producers”. Film strips were transparencies projected with a “slide” projector, only instead of individual transparencies, all the pictures were printed onto a short strip of film which could be wound through the projector to show one picture after another. They were not motion pictures of any kind. Kodak Positive Film was most likely Positive Film 1301, sold in short lengths.

Film Strip Production is described at length in an article printed in the “British Journal Photographic Almanac” for 1949, see “Film Strip Production by the Amateur Photographer”, by M.L. Haselgrove. Mr. Haselgrove mentions that “Positive stock, on the other hand, is rather like a Bromide paper emulsion, being primarily blue sensitive and so is safely handled in the light from a “bromide” safelight. The base is clear, no anti-halation dye being used, and resolving power is fairly good”.

The film described is most likely 35mm Kodak Safety Positive. This film became Kodak Fine Grain Positive Safety Film by 1954.

Kodak Fine Grain Positive Film was listed in the Kodak Professional Catalogue for February 1960, and was sold in 5 metre and 17 metre lengths in 35mm format. It was priced to sell at about two thirds of the cost of camera films of the same length, such as Plus-X or Tri-X.

In 1979, Kodak in the UK was importing Eastman Fine Grain Release Positive Film 5302. This was sold in 35mm format in 100 foot lengths and replaced the UK product viz: Fine Grain Positive Film.

The 5302 was described in the US Eastman Kodak catalogue for 1979 as a "Black and White Positive print film for general black and white release printing”.

Black and white release printing meant that the film was mainly intended for use to make positive prints from film taken in motion picture cameras. Exactly the same film was included in the black and white section of the “Kodak Professional Product Profile” catalogue of 1999.

The film was taken off the market between 2000 and 2002 as there is no mention in the equivalent Kodak catalogue for 2003.

Kodak Commercial Fine Grain CF.8 Film
Coated on a 0.008 inch (0.2 mm) acetate base, Commercial Fine Grain film CF.8 was a blue sensitive sheet film used for general copying of black and white photographs and for making duplicate black and white negatives and positives. It could also be used for general photography where colour insensitivity was unimportant. Green and red objects in photographs taken in daylight became a very dark grey to almost black in the prints. The contrast of the film was much lower compared to a Process film, but contrast could be increased by developing in certain developers, such as Kodak DG-10. For general copying of black and white artworks or photographs, Kodak D-76 developer gave the best tonal rendering. In the mid-1960s the speed of the film was 50 ISO/ASA to dsaylight, or 10 ISO/ASA to tungsten lighting. The instruction sheet reproduced below dates from June 1966 and gives development times for deep tanks and dish development.

The equivalent Ilford film in the mid-1960s was the range of Ilford Fine Grain Ordinary Series 3 films, N7E.31, N5.31, N5.31M, and N3.31.

History of the film in the UK
As far back as 1923 there was available an “Eastman Commercial Film”, sensitive to blue light only. The film may have had its origins further back than 1923 when it was described as “…slow emulsion (and is) used for copying work and for all purposes where a slower emulsion is required. …an ideal medium for difficult interiors with great extremes in lighting”. No film speed was given.

In 1940 a Kodak “Professional” catalogue listed the film as “Kodak Commercial Film” giving a speed of '25 Kodak' if developed in Kodak D-76 developer. This speed was for use in daylight. The film was described as “……..recommended for all kinds of commercial and architectural work not requiring colour sensitivity”. A speed of 25 Kodak was approximately 25 ISO/ASA.

The name of “Commercial Film” was changed to “Commercial Fine Grain Film CF” between late 1951 and early 1952. There was also a “Commercial Matt” sheet film available to “Special Order”. This film presumably had a matt surface base for easy re-touching. The film became “Commercial Fine Grain Matt CFM” sheet film at the same time. In May 1952 the films were obtainable in sizes from 6½ x 4¾ inches to 20 x 24 inches. The “Matt” sheet film was slightly more expensive than the regular base sheet film (Ref: Kodak UK price list May 1952).

The British Journal Photographic Almanac (BJPA) of 1953 reviewed Kodak's Commercial Fine Grain Sheet Film as “…it can be seen that the film is well suited to the making of photogravure negatives and positives and the copying of monochrome originals”. The BJPA gave a speed of 16 ISO/ASA in daylight or 4 ISO/ASA in tungsten light. These speeds could be doubled with little danger of under exposure.

By 1957 the film had gained the number “CF.8” and there were two other versions listed in the Kodak Professional catalogue for October 1957, viz: CF.8 had an acetate base of 0.008 inch thickness, CFM.8 was the same film but with a retouchable matt surface, and CF.3 was a thin base film of 0.003 inch thickness.

By 1960 two films were obtainable, CF.8. and CF.10. The emulsion of the CF.10 film was coated onto a Polystyrene base of 0.01 inch thicknesss, giving great dimensional stability that ensured the physical accuracy of copies.

Between 1960 and 1961 it is likely that the CF.10 film was replaced by CF.7. The emulsion for CF.7 was coated onto a Polyester plastic base of great physical stability and resistance to tearing. This was one of the first films Kodak (London) coated onto a Polyester base, trade mark ESTAR, of 0.007 inches thick (0.18 mm).

It is possible the speed of both films was, by then, increased to 50 ISO/ASA to daylight, or 10 ISO/ASA to tungsten. These speeds were known as “the minimum speeds” and could not be doubled. The CF.8 film on acetate base was still available.

The two films remained for sale in this form until 1968. Thereafter, Kodak UK no longer manufactured CF.8, but the CF.7 continued to be made until the mid 1970s, when it was replaced by Kodak Reproduction films, 4566 and 2566 (see here).

Kodaline Standard Films, KS3 and KS5
Kodaline Standard sheet film was introduced in 1946 to replace Kodaline Slow film, introduced in 1935. The film may have been available from 1946 coated onto two bases, varying in thickness, but certainly by 1952 Kodaline KS3 with an extra thin base of 0.003 inches, and Kodaline KS5 with a base thickness of 0.005 inches, were obtainable in most sheet film sizes plus some roll sizes.

Kodaline Standard film was suitable for copying pencil drawings and original black and white artworks of continuous tone or in black and white tones only, no mid tones (line drawings). It could produce a varying degree of high contrast depending on the type of developer used and the time of development. This extremely fine grain film could also be used to make black and white transparencies from soft negatives. It was extensively used in the graphic arts industry, where the extra thin base could be cut up to produce composite negatives or for montage work.

Sensitive to blue and white light only, sheets and rolls could be handled under a safelight fitted with a Kodak safelight filter (Wratten) Series OB, lime yellow, or pre 1953, a Wratten Series OA, olive green filter.

By 1964 the KS3 extra thin base version was no longer made and in late 1968 the 0.005 inch thickness film was manufactured with an “Estar” base of 0.004 inch thick. From then on it was known as “Kodaline Standard film 2698 Estar base”. Kodaline Standard film 2698 was replaced by Kodaline Reproduction films, 2566 and 4566, in 1974.

Recommended Developers

In the 1940s:	Kodaline developer, which could be made up to the Kodak formula D-154. Developer D-8 was introduced in 1943, a Hydroquinone – Caustic developer giving a higher contrast than D-154.
In the 1950s:	Velox developer, which could be made up to the Kodak formula D-158. Kodaline developer and D-8 remained from the 1940s. D-8 gave the highest contrast.
In the 1960s:	Developer D-8 remained; also now D-11, DG-10, DPC and D-163. D-11 was a general purpose developer, where the contrast of the material processed depended upon the dilution of the developer. The instruction sheet for Kodaline Standard film 2698 suggested undiluted D-11 for very high contrast. DG-10 diluted 1 + 7 with water for high contrast. DG-10 was a concentrated liquid developer which could produce fairly high contrast according to the rate of dilution. For lower contrast (making transparencies from negatives), DPC developer diluted 1 + 9 with water or D-163 diluted 1 + 3. DPC was another liquid developer, which could be used successfully to develop a vast range of Kodak materials. D-163 was the standard black and white print developer (in the 1960s) for Kodak Bromide and Bromesko papers.

Sheet film sizes
From 1946 most regular sheet film sizes were obtainable from 3¼ x 4¼ inches to 30 x 40 and 30 x 44 inches plus two roll sizes. By the mid-1960s the film was no longer made in sheet sizes above 20 x 24 inches and roll sizes were discontinued in 1972, sheet sizes in 1974.

Michael Talbert comments:
There are several Kodagraph Ortho films listed in an “Eastman Kodak Stores” catalogue of 1965, but not KO5. The nearest I can find is “Kodagraph Ortho Negative Film EO4” where the 'E' might stand for Estar Base and 4 is likely the base thickness i.e. 0.004 inches thick. EO4 was a high contrast ortho negative film, with a speed suitable for projection, “……………..holds weak pencil lines while maintaining good background density”.

Best guess is that KO5 may have been an earlier version of EO4, before the emulsion was coated onto an Estar base. Probably K is for Kodak, O is for Ortho, and 5 likely means 0.005 inches thick, being the thickness of its (pre-Estar) acetate base. In the UK KO5 was the code for Kodaline Ortho film.

Kodagraph films didn't appear in the UK until 1962. Alan's box is dated November 1966.

Kodak Reproduction film 2566 was for contact and camera exposed line work in Graphic Arts. It was of high contrast, orthochromatic, with a high maximum density and very low fog level. It is listed in the American “Kodak Photographic Products” catalogue of 1979–80.

Eastman Kodagraph Projection Standard Paper
This paper was for making high quality enlargements from micro film and other reduced scale negatives. The instruction sheet found inside the box for “Projection” and “Fast Projection” papers states: “These high speed and high contrast products offer a group of materials coated on a variety of paper-stock weights to meet the many requirements of projection photocopying”.

This paper was coated with a high contrast blue sensitive emulsion. It could be handled under a Kodak Safelight filter Wratten Series 1, (red). Development was in “Kodagraph” developer (or Dektol) for 60 seconds at 68°F.
The paper has an expiry date of September 1954. The base thickness is slightly thinner than a single weight Kodak Bromide print and has a semi matt surface. Despite the thin base, the instruction sheet recommends washing the paper for at least half an hour after the fixing bath. The paper was not resin coated (RC).

As far as is known, the nearest Kodak UK product was “Kodak 84 Projection Document Paper Medium Weight” (Ref: Kodak U.K. professional catalogue October 1957).

'Negative Card' paper was a paper based substitute for celluloid films or glass plates. It was useful for rapid production of negatives, as the paper could be developed in large quantities in a dish similar to black and white prints exposed onto Bromide enlarging paper. The material was mainly used by 'beach and street' photographers, specialising in taking cheap portraits with a 'Jano, While-U-Wait' camera. These cameras, which first appeared in the 1920s, were claimed to produce a postcard size (3½ x 5½ inch) print in less than 5 minutes. The two advertisements (see lower, below) illustrate the 'Jano' camera, one advert being from the British Journal Photographic Almanac (BJPA) for 1948 and the other from the BJPA for 1955.

The opaque Negative Card 'paper' negative produced by the Jano had to be copied onto a second sheet of Negative Card in order to achieve the final positive print. Although this 'printing' technique was conveniently built into the Jano system, some photographic companies (from at least 1930) e.g. Jerome and Gratispool, also printed paper negatives using reflected light enlargers, in otherwise conventional darkrooms.

The Negative Card paper was comparable to an enlarging Bromide paper in appearance, but with an emulsion fast enough for an 'instantneous' camera exposure. There was also another grade, 'Extra Rapid', possibly twice the speed of 'Rapid'. The box gives no indication of the speed of the paper in ISO or ASA terms, nor do any of the Kodak Professional catalogues give this information, where the paper is listed in postcard size only. In the 1950s the 'Rapid' grade must have had an ISO/ASA speed of at least 64, similar to a medium speed film. Negative Card (but only in the Rapid grade) was produced until 1967. Thereafter Kodak did not offer any alternative product.

Below is shown a box of 100 sheets of 'Negative Card' paper in the 'Rapid' grade. As best can be ascertained, this box dates between 1957 and 1961. The overlaping rectangles on top of the box (Kodak Photographic Paper) was first used from 1957-58, which specifies the earliest possible date. The rear label (see right, below) mentions "Other grade available - Extra Rapid", but this Extra Rapid grade was not manufactured beyond 1961. Hence, beyond 1961 there would have been no reason to mention the 'Extra Rapid' grade.
(References: Kodak Professional catalogues 1957, 1960, 1961, 1966, and 1968).

An advertisement in the BJPA for 1951 mentions a new Jano camera 'in preparation' taking 3½ x 2½ inch photographs. The Jano advert in the BJPA for 1955 advertises the 'Jano Junior', capable of taking pictures of 3½ x 2½ inches, but there is no mention in any of the Kodak Professional Catalogues of 'Negative Card' in this size (despite the box shown below). It's possible such a size was made to Special Order
(References: BJPAs for 1948, 1950, 1951, 1954, 1955 and 1957).

A street or beach photographer would have photographed his subject in the conventional manner but using 'Negative Card' paper as his light sensitive 'film'. Given below is an outline of how a photographer operated a 1954 model of a 'Jano While-U-Wait' postcard (3½ x 5½ inch) camera. This website gives further details and shows photographs of an actual Jano camera.

At the back of the camera was a door with a large circular hole in it. Attached all around the rim was a long 'Sleeve' where the photographer could insert his hand to access the inside of the camera when the door was closed. To operate the camera, the photographer opened the door and composed his picture on a ground glass screen which was the size of the paper and could be adjusted to 'ortrait' or 'landscape' format. The door was then closed, the photographer put his hand into the 'sleeve' and' with his hand inside the camera, he lowered the ground glass screen and placed a piece of 'Negative Card' into the 'taking' position in place of the ground glass screen. Unexposed sheets of 'Negative Card' were stored in the camera ready for use.

After making the exposure, the sheet of 'Negative Card' was removed from its position and placed in the Developer tray in the base of the camera. Progress of development (it may have been necessary to reduce or increase the development time to vary the contrast of the image) could be watched through a small window covered with red glass on top of the camera. When development was complete, the print was transferred to the Fixer tray alongside. The Fixer would most likely have been a 'rapid fixer' and, as such, the whole development and fixing process would have taken less than three minutes. To complete this first stage of the process, the photographer took his hand out of the 'sleeve', opened the back of the camera, removed the processed card and rinsed it in a large bucket of water hanging from the camera tripod. The result would have been a negative image that required the photographer to next produce a final positive print.

At the front of the 'Jano' there was a 'frame' to hold the postcard size negative cards. The frame was assembled in front of the camera lens and the negative slotted into it. This time, instead of photographing his subject, the photographer photographed the negative card image onto another sheet of 'Negative Card', and the processing procedure was repeated. After developing, fixing and then rinsing this second sheet of 'Negative Card', a positive print was produced. This print was then rinsed in the water bucket, surface moisture wiped off and likely waved in the air to 'complete' the drying process. The print would then have been handed to the customer, probably with some caution regarding the need to keep it in the open air until it dried completely.

The 'Negative Card' emulsion would have had been sensitive to the blue light wavelengths within white light, much as black and white 'Bromide' printing paper, but with a much faster speed (light sensitivity). The restricted blue light colour sensitivity would have simplified the subsequent developing process due to enabling handling such material in a fairly bright red light.

The 1957 Kodak Professional Catalogue recommends handling 'Negative Card' under a safelight fitted with a 'Wratten Series 1' safelight filter. The nearest film equivalent to 'Negative Card' in the 1950s was Kodak's 'Commercial Fine Grain' sheet film with a speed of 50 ISO/ASA. Both materials could be handled under the 'Wratten Series 1' safelight filter. This safelight filter was a medium density red filter, suitable for all fast blue sensitive films and papers.

In previous models of the 'Jano While-U-Wait' cameras there were two tanks underneath the camera holding developer and fixer solutions. The 1954 model was the first to incorporate trays for processing instead of tanks. In photographs illustrating the 'Jano' 1954 model, the rear access 'sleeve' looks to be covered with some kind of red plastic material. This red material may well have acted as a safelight filter, providing some safe red light inside the camera that enabled the photographer to more easily control placement of the focussing screen, the 'Negative Card' and transferring the card into the processing trays.
(Reference: www.earlyphotography.co.uk).

Kodak Blue Brand Medical X-Ray Film
Below is another film box photographed by Alan Grange. The X-Ray film was coated on an Estar base and had rounded corners, presumably for safe handling under hurried conditions.

In 1953, Blue Brand X-Ray film was the fastest Kodak X-Ray film for radiography with intensifying screens. Its contrast, fineness of grain and freedom from fog gave radiographs of supremely good gradation. It was available on a clear blue base, Code 3, or on an opal base, Code 4.

The films could be exposed with an intensifying screen or exposed without a screen which gave lower contrast.

In the early 1950s, the price of Blue Brand X-Ray film was not subject to Purchase Tax, levied at about 45%. In May 1952, the film could be purchased in sizes from 2 x 15 inches to 14 x 17 inches in 25 sheet and 75 sheet boxes. The box of Blue Brand X-Ray film illustrated here would have cost £12.17s.4d or (in decimal currency) £12.87.

(This information has been taken from the Kodak UK catalogue Section 1 “Kodak Films” dated January 1954. Information on X-Ray film was not usually included in the same catalogue as camera films e.g. in the 1957 'Professional Kodak catalogue' the X-Ray films were left out).

In the British Journal Almanac for 1961, containing adverts dating from 1960, Kodak lists a comprehensive range of medical radiographic films (Royal Blue, Blue Brand, Standard, Kodirex) and industrial radiographic films (Industrex, Crystallex, Kodirex) for use with intensifying screens where applicable. Special films were available for Fluorography and cine radiography.

Blue Brand Ultra-Speed
Below is another packaging of Blue Brand X-Ray Film, this one for Blue Brand Ultra-Speed (Code 3, Clear; Suitable for all climates). Safety Blue Base, Folder Wrapped.
The Kodak advertisement in the 1945 BJPA refers to it thus:
"The new, supreme medical X-Ray film for exposures with fluorescent intensifying screens - almost twice as fast as 'Dupli-Tized' Super Speed film, but similar in contrast and fineness of grain".

The box shown contained 75 sheets of film, each 12 x 15 inches. The instructions on the back of the box read: Open Only in Photographic Darkroom.
USE with 'Kodak' Ultra-Speed Intensifying Screens for maximum speed and contrast. May also be used without screens.
DEVELOPMENT: Use D.I9b 'Kodak' Developer Powder. Develop for 5 mlnutes at 68°F (20°C). Maintain activity of developer with D.I9bR 'Kodak' Replenisher Powder.

STORAGE: Store on end or side, in cold dry place. Mark date of receipt on box; use in rotation.
SAFELIGHT: With a 25-watt bulb, use 'Kodak' Safelight 'Wratten' Series 6B (brown) for direct illumination and Series 6BR (light brown) for indirect illumination.
FIXING: When films are to be dried at moderate room temperatures, use 'Kodak' X-Ray Rapid Acid Fixer without its separately packed hardener. With higher tempera-tures, use 'Kodak' X-Ray Acid Fixing Salt with Hardener, or 'Kodak' X-Ray Rapid Acid Fixer with its hardener.
For tropical conditions refer to Kodak Data Sheet XR-8.
WASHING AND DRYING: Wash for 30 min. in running water. Use 'Kodak' Wetting Agent to prevent drying marks and accelerate drying.
'Kodak' and 'Wratten' are trade marks.

Silver Halide Developers and Dichroic Fog
In the late 1930s there was an effort to formulate developers that produced a reduced grain size on the fastest black and white negative films then available. Grain size became important when small negatives (as from 35mm but also roll film) were enlarged to make prints larger than 12 x 10 inches, especially when using high speed films such as Kodak Super XX or Ilford HP2.

At that time, Kodak D-76 developer (see below) was recognised as one of the most used standard developers for processing black and white films. It was said to produce the finest possible grain without decreasing film speed. Other Kodak developers available at that time, Kodak Portrait Film developer (D-151) and Kodak DK-50 were more suitable for processing larger (sheet) format films, where a larger grain size was compensated by the size of the large negative.

There were certainly other formulae that would produce a much finer grain structure on high speed films. Developers containing the developing agent “Paraphenylene Diamine” (P.P.D.) gave a definite finer grain size than D-76. Unfortunately they had their disadvantages – very long development times, low contrast and, for the finest grain possible, exposure of the film had to be increased up to four times from normal exposure. A much finer grained film, of a lower speed e.g. Kodak Panatomic-X, might have given a better result. The British Journal Photographic Almanacs (BJPAs) of the late 1930s to early 1940s published some of the P.P.D. developer formulae in their “Fine Grain Development” section.

In 1939, two research workers at Kodak published the developer formula DK-20 (see below), a developer specially designed for use with high speed materials, giving a distinct reduction in graininess compared to the Kodak D-76 formula. The main advantage of this new developer was that the loss of speed was approximately only 35% below that achievable with D-76. In 1940, Kodak Super XX 35mm film, rated at Kodak speed 32 (125 ISO/ASA) in D-76, could still be exposed at Kodak 30 (80 ISO/ASA) when processed in the new DK-20. Most speed ratings included a “Safety Factor” of one stop i.e. the film was rated at half the speed it really was, and photographers who calculated their exposures accurately with some kind of exposure meter could halve their exposures i.e. double the film speed. Super XX film then became Kodak 35 (250 ISO/ASA) when developed in D-76, and Koak 33 (160 ISO/ASA) when developed in DK-20.

The Kodak DK-20 formula developer could be purchased from Kodak (UK) as 'Kodatol' developer, to be made up with water to make a working solution. “Kodatol” was available in six sizes (1940) from 20 fluid ounces to a 5 gallon size.

'Kodatol' DK-20 was known as a 'Silver Halide Solvent' developer. The developer contained Potassium Thiocyanate which acted as a powerful silver solvent. The purpose of the addition of Potassium Thiocyanate to the developer was to prevent 'clumping' of the very small grains. As the exposed grains developed, they fused together to form larger grains. The increased graininess caused by 'clumping' then appeared on prints above 8 x 10 inches made from 35mm or small roll film negatives. The Potassium Thiocyanate 'fixed out' the smaller sized grains but, in so doing, decreased the sensitivity of the film. It was very important to avoid any over-development as this would cause a form of 'Dichroic Fog' in the film i.e. the negatives appeared to take on a diffused effect in addition to a lack of sharpness.

The Focal Press also published their version of a formula for a Silver Halide Solvent developer containing Potassium Thiocyanide. It was described as 'slow' and 'soft working'. Exposure times had to be doubled (Ref: Focal Press, Photographic Dealers Pocket Book 1953).

In the 1950s Kodak introduced several improved emulsion films, the first being 'Royal Pan' sheet film in the U.S.A. about 1952. These films were coated with a gelatine layer containing a sensitive emulsion very near the surface of the film base, preventing light scatter i.e. irradiation in the emulsion, therefore improving sharpness. Kodak issued a warning that these improved films should not be developed in Silver Halide Solvent developers as these type of developers would cause dichroic fog and definition would suffer. Kodak 'Microdol' developer was introduced in the late 1940s as a replacement for DK-20 and by the late 1950s Silver Halide Solvent developers became obsolete.

'Dichroic Fog' was caused by active developer being present in the emulsion after the film had been transferred to the fixing bath. The fixer converts any unexposed silver to soluble salts which diffuse out of the emulsion into the fixing bath. But if the developer is still active in the emulsion when the film is in the fixing bath, the newly formed soluble salts may turn to metallic silver as if they were exposed silver halide. In other words, the developer may try to form an image even after the film is in the fixing bath. This causes the developed metallic silver to form an even deposit of fine silver over the whole surface of the film, giving the negative a diffuse look and causing a lack of definition. Kodak 'Royal X Pan' film rated at 1250 ISO/ASA was susceptible to dichroic fog because of it’s very thick high speed emulsion and Kodak recommended the use of a Stop Bath between developing and fixing.

Because Silver Halide Solvent developers contain a kind of fixing agent, Potassium Thiocyanate, any over-development may cause an over reaction of the fixing agent generating dichroic fog. The new Kodak films introduced in the 1950s were coated with a very fine grain emulsion located very near the surface of the film. It is likely that any Silver Halide Solvent developer would 'fix out' the minute grains while the film was being developed, causing a decrease in speed and definition. The first 'improved' film to be sold in the UK was Kodak 'Panchro-Royal' sheet film, the equivalent of the Eastman Kodak 'Royal-Pan' sheet film, sold in the U.S.A. Other improved films introduced in the 1950s made with a finer grain structure were Verichrome Pan, Tri-X, and Panatomic-X roll and 35mm films.

(Ref: British Journal Photographic Almanac for 1957 and Basic Photography, by Langford, 1965)

Kodak 'Special' Developer
Kodak 'Special' developer was the original name of the Kodak formula D-163 (see below) which replaced the earlier D-157 formula in the 1930s.

The directions on the 'Special' bottle label shown in the packaging picture below reads:

For Films and Plates: Use one part of solution and three parts of water.
For Bromide Papers: Use one part of solution and three parts of water and develop for 2 minutes at 65°F.
For Velox and other Gaslight Papers: Use one part of solution and one part of water and develop for 30–40 seconds at 65°F.

The bottle and the cardboard container it was packaged in date from the mid-1930s. The liquid Kodak 'Special' developer is listed for sale in the Kodak UK catalogue 'Professional Photographic Apparatus and Materials' for 1923 but only as a 1 gallon size. The equivalent catalogue for 1933 does not list any 'Special' developer as a liquid solution. In those early catalogues, the developer would have been made up to the D-157 formula.

As far as is known, an 8oz bottle of 'Special' would have cost 1 shilling and 3 old pence (1s/3d) in 1940, just more than 6p.

Kodak D-163 Developer
Kodak D-163 was originally known as Kodak 'Special' Developer, made up to a formula very similar to the Kodak D-157 developer. Then, in the late 1930's, the developer was made up to a new Kodak formula known as D-163, and at that time the bottles and tins of developer were labeled as 'Kodak Special Developer, Formula D-163'. By the 1950's the words 'Special' and 'Formula' were dropped and the developer simply became known as Kodak D-163 Developer.

The developer was originally for use as a general purpose developer for films, glass plates, Bromide and Velox papers, and available in powder or liquid form. In later years it became the standard developer for Kodak Bromide, Velox, Bromesko and Royal Bromesko printing papers. It gave a neutral black to Kodak Bromide and Velox papers, a warm black to Bromesko paper and a pronounced warm black to Royal Bromesko paper.

The dilution for all Kodak papers, to make a working solution, was normally one part concentrated developer to three parts water.
The concentrated developer was either made up from a powder or was purchased as bottled liquid concentrated developer. The development time varied between the printing papers, but was in the range of one to three minutes at 68°F. For faster development with Kodak Bromide papers, the developer could be diluted one part developer to one part water.

D-163 could also be used for the rapid development of roll and sheet films, at three to four minutes at 68°F. The author recalls one or two students at the Art College he attended in the 1960s, developing certain high speed Kodak roll films in D-163 i.e. Tri-X Pan and Royal X Pan, for well over the recommended time, claiming fantastically high ASA (ISO) speeds as for use in “available light “ photography. Unfortunately, since the author never experimented with “uprating” film speed by this development technique, he cannot vouch for these claims.

Kodak D-163 developer was replaced by the American Eastman Kodak “Dektol” in 1985, sold in liquid and powder form. Dektol had been on sale in America for many years and from 1985 was recommended for processing most UK Kodak black and white printing papers, and the developer became listed in the UK Kodak catalogues.

Download instructions from November 1966 for this general purpose developer: D-163 Developer, November 1966

Kodak DK20 (aka Kodatol) Developer
DK20 Developer was a Silver Halide Solvent developer, a term which is discussed above.

The Kodak DK-20 formula developer could be purchased from Kodak (UK) as 'Kodatol' developer, to be made up with water to make a working solution. “Kodatol” was available in six sizes (1940) from 20 fluid ounces to a 5 gallon size. The Kodak advert in the BJPA for 1940 gives he details of 'Kodatol', see opposite.

Packets of Kodak D-76 and 'Special' developer (later known as D-163), also appear in the picture

It was a very fine grain developer that came before Microdol. It is believed DK20 and Microdol were sold at the same time for a few years in the early 1950s. DK20 was finally abandoned in favour of Microdol about 1954. Microdol became Microdol X in 1962.

Download instructions for DK20 from a September 1953 leaflet: DK20 Developer
Small parts of the original of this leaflet had become obscured, but this pdf file has been (hopefully) accurately re-written in the few offending areas:

From left to right:

A D-76 film developer packet dating from the 1970s.
A D-76 film developer tin dating from the 1940s to 1950s.
Kodak “Special” developer bottle and carton dating from the 1930s.
“Dektol” liquid developer dating from the early 1990s.

D-76 developer for developing black and white negative films was invented by J.G.Capstaff of the Eastman Kodak company in 1926. It was one of the first film developers to give the finest grain the film was capable of without affecting the speed of the film being developed. There were at least ten variants of the formula, the most well known being D-76b and D-76d.

A formula for D-76 dating from 1937.

Metol	2.5 grams
Hydroquinone	5 grams
Sodium Sulphite (crystalline)	200 grams
Borax (Sodium Tetraborate)	2 grams
Water to make	1000 ccs (1 litre)

The developer was listed as “D-76 Elon–Hydroquinone–Borax” developer in the UK “Kodak Professional and Industrial” catalogue for 1940. “Elon” was the Kodak trade name for Metol. A packet of D-76 supplied as powder chemical components to make 20 fluid ounces of developer would have cost 2 shillings (10p) in 1940.

The packet illustrated above made 600ccs and cost 23p in 1973, including VAT.

Dektol developer
Dektol instructions on the back of the bottle in the packaging picture, above, read:

Dilute 1+9 (1 of the concentrate plus 9 of water) and develop 1½ - 2 minutes at 68°F.
Polyprint RC paper 1½ - 3 minutes at 68°F.
1 litre will develop 30 sheets of A4 sized paper.

Dektol was an American Eastman Kodak developer principally for developing black and white printing papers. As far as is known, it was introduced in the USA only, sometime in the late 1940s, as an improved version of the Eastman Kodak packaged D-72 developer.

An Eastman Kodak photographic catalogue for 1950 states the (then new) Dektol developer had four advantages over the old D-72.

1.    20% greater print capacity.
2.    50% better keeping properties.
3.    Greater clarity in the partially used developer solution, practically no sludge, or discolouration.
4.    An almost constant development rate that doesn't slow down with age.

Dektol was available from its introduction as a powder developer (developer solution made up from powder components) in the USA and was not sold in the UK until 1985 when Dektol replaced the well known D-163 developer. An additional liquid version was introduced at the same time (as the illustration above). Dektol developer made up from powder components was further diluted 1 + 2 with water to make a working solution.

In a “Silverprint” (a professional photographic dealer, based at Valentine Place, London, SE1 in 1997) catalogue for 1997–1998, Kodak D-163 liquid developer is listed in two quantities for sale alongside Dektol. A Kodak UK Products catalogue for 1999 gives only Dektol and Polymax developers for print processing. It is thought that the Silverprint people may have been making their own D-163 developer to the Kodak formula and offering it for sale. It is thought by some that D-163 developer produced a slightly warmer “tone” rendering in the print i.e. a slightly brownish colour to the “blacks”, compared to Dektol. Hence, both developers had their adherents and both were (1997-1998) listed for sale.

Apart from the choice of developer, much of the tone colour in a black and white print depended on the type of paper, the base colour, and the development time.

Michael Talbert started making colour prints in 1969, using Kodak Ektacolor Commercial paper. He was a photographic colour printer in the 1970s, printing colour negatives mainly onto Agfacolor paper. He also had experience using about 10 types of Kodak paper, plus other makes, Gevacolor, Fuji, Paterson, Konica.

Michael now sets up and takes “Retro” fashion pictures, but prints them digitally.