Kodak T-Max 400 vs Kodak Tri-X 400

Updated October 14, 2026 · 8 figures compared

T-Max 400 and Tri-X 400 are Kodak’s two ISO 400 black-and-white negatives: T-Max built on tabular T-Grain crystals, Tri-X the classic emulsion, re-engineered in 2007 A1 B6. In a back-to-back test, T-Max kept more shadow detail and a wider tonal range, while Tri-X gave more contrast and a balanced image without edits E1. Kodak’s grain figures, RMS 10 and 17, were measured in different developers, so they do not compare directly A1 B1.

A GA — 019 Black and white

KodakT-Max 400

In production

Film sheet Preset GA — 019 / P

B GA — 003 Black and white

KodakTri-X 400

In production

Film sheet Preset GA — 003 / P

Compare other films

From the Kodak T-Max 400 sheet, on Kodak Tri-X 400: “Kodak's classic ISO 400: grainier on paper (RMS 17 in HC-110) and punchier in side-by-side tests”
From the Kodak Tri-X 400 sheet, on Kodak T-Max 400: “Kodak's T-grain 400, now also sold as Ektapan 400: much finer grain on paper (RMS 10 in D-76, against 17 in HC-110)”

Side by side

1 of 8 rows differ · 1 not comparable

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Kodak T-Max 400 and Kodak Tri-X 400, documented figures side by side
Identity
	A Kodak T-Max 400	B Kodak Tri-X 400
Brand Same	Both Kodak
Manufacturer Same	Both Eastman Kodak
Type Same	Both Black and white
Process Same	Both B&W
ISO Same	Both 400
Formats Differs	135, 120, 4x5, 5x7, 8x10	135, 120
Both are listed in 120 and 135. Only Kodak T-Max 400 is listed in 4×5 sheets, 5×7 sheets and 8×10 sheets.
Status Same	Both In productionchecked September 29, 2026 [A3]: source 3 of Kodak T-Max 400 [B3]: source 3 of Kodak Tri-X 400
Also known as	Kodak Ektapan 400 (rename, 2026, reported) [A5]: source 5 of Kodak T-Max 400	None
Character
Grain Not comparable	RMS granularity 1048 µm, 1.0 above minimum density, D-76, 20 °C [A1]: source 1 of Kodak T-Max 400	RMS granularity 1748 µm, 1.0 above minimum density, HC-110 (B), 20 °C [B1]: source 1 of Kodak Tri-X 400
Measured under different conditions (48 µm, 1.0 above minimum density, D-76, 20 °C / 48 µm, 1.0 above minimum density, HC-110 (B), 20 °C): not directly comparable. [A1]: source 1 of Kodak T-Max 400 [B1]: source 1 of Kodak Tri-X 400
Contrast	Reviews disagree; contrast index about 0.59 in D-76 (our graph reading)	Bold, per reviews; Kodak's development times target a contrast index of 0.56
Latitude	One stop under at normal development; push to EI 1600 or 3200	One stop under at normal development; push to EI 1600 or 3200
Resolving power	50 lines/mm at 1.6:1, 200 lines/mm at 1000:1 [A1]: source 1 of Kodak T-Max 400	Not given (Kodak: 'high resolving power'); MTF curve published [B1]: source 1 of Kodak Tri-X 400
Reciprocity	No correction from 1/10,000 to 1 s; +⅓ stop at 10 s; +1½ stops at 100 s [A1]: source 1 of Kodak T-Max 400	No correction from 1/100 to 1/10 s; +1 stop at 1 s, +2 at 10 s, +3 at 100 s, with shorter development [B1]: source 1 of Kodak Tri-X 400
Look	Clean, fine-grained black and white; slightly less blue-sensitive than other Kodak films (Kodak)	Contrasty black and white with deep blacks and visible grain
Best for	Dim light, fast action, depth of field, big enlargements (Kodak)	Dim light, fast action, depth of field (Kodak)
Datasheet and preset
Datasheet	F-4043, edition 2016-02 (PDF)	F-4017, edition 2021-10 (PDF)
Spectral curve	Published	Published
Preset	GA — 019 / P · darktable and Photomator	GA — 003 / P · darktable and Photomator
Both have a preset.

Source numbers carry the film: A3 is source 3 of Kodak T-Max 400, B3 is source 3 of Kodak Tri-X 400. Not published: none of the sources on file gives this figure.

Same scene, two presets

SceneBeach cabinBeech forest

Beach cabin under storm clouds, with the preset inspired by Kodak T-Max 400 (GA — 019 / P) applied, in black and white (simulation). — **A · GA — 019 / P** · Kodak T-Max 400

Beach cabin under storm clouds, with the preset inspired by Kodak Tri-X 400 (GA — 003 / P) applied, in black and white (simulation). — **B · GA — 003 / P** · Kodak Tri-X 400

The same beach cabin under storm clouds, base development without a preset. — **Reference** · base development, no preset

Same RAW file, two presets · rendered in darktable 5.6 · simulations on a digital RAW, not film scansPhoto: seume on discuss.pixls.us, CC0 1.0 · Photo credits

Both images start from the same RAW file, with the same base development: darktable’s default exposure and sigmoid. Each side then has one The Grain Archive preset applied. They show our interpretation of each film, not scans of real negatives. Real film also depends on exposure, processing and scanning.

Tonality

Toe. On the datasheet curves, T-Max’s toe is short, about half a log unit, against about one for Tri-X (read from Kodak’s graphs) A1 B1.
Development sets the contrast. At Kodak’s normal time in D-76, T-Max reads about 0.59 on the datasheet’s contrast index curve; Kodak’s Tri-X times target 0.56 A1 B1.
In the test. Taylor Blanchard found the results “almost identical” at first, then differences “subtle, yet not insignificant”: “T-MAX retains more shadow detail and showcases a wider tonal range”, while “Tri-X exhibits more contrast and provides a very nice-looking and balanced image without edits” E1.

Grain and sharpness

Kodak sells T-Max 400 as the world’s finest-grained and sharpest 400-speed black-and-white film A1, and calls Tri-X’s RMS of 17 “fine” B1.
In 120, Blanchard “didn’t see discernible grain differences between the two” E1. In a 2010 test in XTOL, 125px found the scans of the two “very similar” for grain, but in prints Tri-X “looks grainier all across the board” A18.
T-Max’s datasheet gives a resolving power of 200 lines/mm at a 1000:1 test-object contrast; Tri-X’s gives no figure A1 B1.

Skies

Kodak writes that T-Max’s blue sensitivity is “slightly less” than that of its other panchromatic films, so blues may come out slightly darker A1. Its daylight factor for a No. 8 yellow filter is 1.6, against 2 for Tri-X A1 B1.
In Amy Elizabeth’s three-film test, on a sunset skyline metered for the shadows, “T-Max 400 was the only film that rendered the clouds on film” E2.

Which one for what

Kodak publishes push times for both films at EI 1600 and 3200 A1 B1.
T-Max 400 comes in 35 mm, 120 and sheets up to 20×24 A3; Tri-X 400 in 35 mm and 120 B3.
Eastman Kodak now also sells a film called Ektapan 400, which the photo press describes as T-Max 400 in a new box; Kodak has not said that the two are identical A6. Tri-X kept its name B5.
Blanchard’s pick: T-Max “to retain more detail in the shadows and highlights”, Tri-X for “a “punchier” look with little editing” E1.

Real film, side by side

Taylor Blanchard shot both films in a Rolleiflex and, after each roll, retraced her steps “shooting the same scene with the same f-stop and shutter speed”, alternating which film went first: at box speed, at EI 800 with normal development, pulled from EI 100 and pushed to EI 3200; theFINDlab developed them E1. Amy Elizabeth’s test on the same site adds HP5 Plus to the comparison E2.