127 film and camera clubhouse

[MCB18]

I don’t have a demo but I can try to explain how it works. From the spool to the end of the two channel aluminum rail is the length the film needs to be. The bottom channel is for backing paper and the top is for film. Having the film in the top channel allows you to cut the film to the proper length after feeding it off the bulk roll. The bulk roll mounts on the empty post in the first picture. So I can work in the dark I mark a spot on the backing paper with tape so I know where the un-taped end of the film starts since this needs to be your starting point when you roll it. That tape just allows you to feel for the correct location. I roll the backing paper onto the spool to the point where that tape is then clip it with a clothes pin to hold it in place. I then pull the film through the top channel and tuck it into the spool. Next I cut the film to length using the channel as a guide. Then I attach a pre-cut piece of tape to that end of the film With about half of it off the film. Then you just crank it all onto the spool, the channels keep everything straight and the tape attaches itself to the backing paper when it goes into the spool. The wood block on the end past where the bulk roll is placed holds the backing paper flat on that end. When you start rolling it just pulls out from under the block.

I hope that makes sense, feel free to ask questions if it doesn’t. One of the hard parts is getting the tape on the end of the film in the dark leaving enough to attach to the backing paper. I pre cut the tape a little shorter than the film width to allow for some error. The key to this working properly is keeping the taped end of the film separate from the backing paper until it goes into the spool. If you taped it to the paper first you will get rumpled paper. The channel helps guide you when attaching the tape to the film. So far it has worked really well for me.

Really clever. It seems like with this you only need to wind the film once. Really clever. The way I do it is to tape the film into the spool, roll the film on the spool, then roll it backwards to get the untaped end where it needs to go. Takes about 5 minutes per roll, but I bet this contraption could get a roll down to 2. If I ever decide to make rolls at a larger scale, I’ll have to keep this in mind!

 

[Sirius Glass]

oops..a digit off. Well they are both square!

Hmmm ... typical off by one software error.

 

[BAC1967]

Really clever. It seems like with this you only need to wind the film once. Really clever. The way I do it is to tape the film into the spool, roll the film on the spool, then roll it backwards to get the untaped end where it needs to go. Takes about 5 minutes per roll, but I bet this contraption could get a roll down to 2. If I ever decide to make rolls at a larger scale, I’ll have to keep this in mind!

I use your method for re-spooling 120 to 620 and it works great for me when the film is already attached to the backing paper. One problem I had hand spooling 127 was getting the film square with the backing paper. Just being off slightly causes problems, that's where the two channels on my rig helps, it keeps the film and backing paper square.

If you prep all your tape and spools before turning off the lights, spooling with my rig can go pretty fast with some experience. I've never timed myself, but a few minutes per roll sounds about right.

 

[Kino]

Got the new leather on my Yashica 44.

 

[ic-racer]

I think I do have a 127 camera, I'll look for it.

 

[ic-racer]

Nice Yashicas!!

 

[Jeremy Mudd]

Got the new leather on my Yashica 44.

View attachment 342581 View attachment 342582

Looks great! I have two Yashica 44's and they are fun to use. One is very clean and I just replaced the leatherette on it. I use it for shooting 127. The other is a bit worn looking, and its been modified to shoot 35mm film (the roller on the feed side has been removed so the 35mm canister fits neatly in there).

I've cut my own 127 film with some success with a cigar cutter in my darkroom, but I prefer to just buy it already spooled. There's a guy on ebay who sells many different film types in 127 that he spools himself. Pricing is decent and its allowed me to shoot stocks like Gold 200, Portra 400, etc.

Jeremy

 

[Tel]

This thread prompted me to look up The Frugal Photographer, from whom I used to buy fresh Portra cut down and rolled in 127. His website says he's shutting down. Sad to see him go--he doggedly supported 127 and 110 shooters for years.

But on a cheerful note: 127 Day (ie, 12 July) is just around the corner: http://127film.blogspot.com/

 

[Axelwik]

Have a friend with a large collection of 4x4 TLR cameras. He's only a few cameras away from having at least one example of every model and color 4x4 TLR ever made.

 

[Kino]

Here's a little less common 127 camera: the Detrola-G, bakelite and aluminum body camera with a 2 inch Ilex Anastigmat f4.5 lens that pops out of the body. It also has an unusual snap on back with two red windows for frame number alignment, although I am uncertain why it would need TWO windows.

The camera was made in Detroit, Michigan sometime between 1939 and 1940 according to Camera-wiki.

 

[mtjade2007]

You guys may be interested in this posts of mine:

46 mm bulk film loader

Is there such a thing called 46 mm bulk film loader? Probably not. I need one. Any DIY idea or where to find one? I have a bunch of various 46 mm bulk films in my freezer. I have modified some empty 120 film reels to accept 46 mm film. I am tempted to use such in my Pentax 67-ii or possibly in...

www.photrio.com

Post #5 and #6.

I have been thinking of DIY a 46mm bulk film loader. The widely available Watson and Lloy's loader can be modified to fit as 46mm 100ft bulk film dispensers.

 

[blee1996]

Another possibility is to spool 46mm film onto Kodak 70mm cassettes, and use it in the 70mm compatible backs such as Hasselblad A70 or Graflex RH-50. Then we can get rid of backing paper all together. But I am not sure how the frame count will work.

I will do some experiments after the July '4 holidays, to see if it will work in any such combination.

 

[mtjade2007]

I don't have the backing paper problem to deal with because I mainly want to shoot 46mm film in my Pentax 67-ii. I need a 46mm bulk film loader to roll the film onto the reels made out of 120/220 film reels. I therefore have to attach paper leader and trailer to the film. The result will be like 220 film rolls with 46mm film in them. I can roll any length of the film as long as it is shorter than the length of 220 film. With such film rolls I can shoot not so wide panos without cropping 120/220 films. I am a big fan of such pano pics. here is the custom reels I made, it took 3 120/220 reels to make one:

 

[qqphot]

two Rolleiflexes by Visoflex I by eric volpe, on Flickr

My 1938 baby Rolleiflex Sport with its big brother. I also mostly use 46mm HP5+ from Ilford's annual odd-sizes sale, respooled onto saved spools and papers from old efke and other 127 rolls. Works ok, not too much hassle I guess. I wish they'd do delta 100 though.

 

[GRHazelton]

This is 126. I have a bunch of 126 cameras that I can't use because they rely on using 126 film that has the proper sprockets.



Sawyer Mark IV is my current grail camera. I've been looking for a deal on one for a few years now.

I had an eye on the Komaflex, the only thing really holding me back is the complicated instructions on how not to mess up the shutter. I have enough messed up cameras as is and I'm not very good at repairing what I break. Fiddly cameras are for some, not for me.

I bought a Komaflex new in, IRRC , 1960. A nice camera with a good 4 element f2.8 lens. I shot a lot of Ektachrome which I processed myself. E-2 process, IRRC. Superslides are spectacular!
Eventually the automatic diaphragm stopped closing down; repairs are very expensive. Yes, one needs to follow the instructions for loading and cocking the shutter. If 127 were cheaper and more readily available I might spring for the repairs.

 

[Cholentpot]

I bought a Komaflex new in, IRRC , 1960. A nice camera with a good 4 element f2.9 lens. I shot a lot of Ektachrome which I processed myself. E-2 process, IRRC. Superslides are spectacular!
Eventually the automatic diaphragm stopped closing down; repairs are very expensive. Yes, one needs to follow the instructions for loading and cocking the shutter. If 127 were cheaper and more readily available I might spring for the repairs.

Shame as it's a nice looking camera.

 

[Donald Qualls]

I am uncertain why it would need TWO windows.

Because it's a 3x4, and the center framing track on 127 is for 4x6.5.

 

[Kino]

Because it's a 3x4, and the center framing track on 127 is for 4x6.5.

Ah! The weirdness with this camera just never stops...

 

[blee1996]

A few shots from the Baby Rolleiflex in Arizona Cactus Garden at Stanford University. ReraPan 400 with medium yellow filter, developed in f76+ 1+9. I really enjoy using the handsome looking Baby Rolleiflex, and both ReraPan 100 and 400 are very nice. Just never use those plastic spool on the take-up side, only use the metal ones!!!

Backlit cactus - BabyRollei_ReraPan400A_011 by Zheng, on Flickr

An unknown path - BabyRollei_ReraPan400A_010 by Zheng, on Flickr

The fuzzies - BabyRollei_ReraPan400A_009 by Zheng, on Flickr

 

[Lee Rust]

Aside from a childhood-vintage Kodak Starflash, I have a 1950's Purma Plus and a 1930's VP Exakta that use 127... usually Ilford FP-4 from "filmforclassics.com" via B&H.

 

[ozphoto]

My first camera was my mum's Kodak Starlet; still have it and will be trying it out again, now that I have another roll of 127 film. Just finished shooting on my latest purchase, the Kodak Baby Brownie. Art Deco loveliness to match my Bantam Special.

 

[Kino]

Just ordered a wide angle and telephoto set of auxiliary lenses for my Yashica 44. It should be interesting, but I don't have real high hopes for optical performance, as I also have the same style set for my Yashicamat 124G and they are not real good performers.

But what the heck, the price was very reasonable and if the wide angle attachment is fairly good, I will probably leave it attached to the 44. One thing that bugs me about the Yashica 44 is the 60mm lens; it seems much too long for the format as a "normal" lens, no matter the math.

I wasn't even really aware these were manufactured until I ran across a mention of the Sun Model 44 Auxiliary Lens set on a webpage devoted to Yashica TLRs.

 

[Cholentpot]

Just ordered a wide angle and telephoto set of auxiliary lenses for my Yashica 44. It should be interesting, but I don't have real high hopes for optical performance, as I also have the same style set for my Yashicamat 124G and they are not real good performers.

But what the heck, the price was very reasonable and if the wide angle attachment is fairly good, I will probably leave it attached to the 44. One thing that bugs me about the Yashica 44 is the 60mm lens; it seems much too long for the format as a "normal" lens, no matter the math.

I wasn't even really aware these were manufactured until I ran across a mention of the Sun Model 44 Auxiliary Lens set on a webpage devoted to Yashica TLRs.

Now I have to find these things. They come as a set of two?

 

[Kino]

Now I have to find these things. They come as a set of two?

Only if the seller bought both sets! Typically, they come as a set of taking and viewing lenses for either wide angle or telephoto.

(borrowed from the auction I won)

 

[Cholentpot]

Only if the seller bought both sets! Typically, they come as a set of taking and viewing lenses for either wide angle or telephoto.

(borrowed from the auction I won)

View attachment 344067

Yeah, I meant taking and viewing lens.

I just loaded up a few rolls of Aviphot 200 onto my hacked out 127 reels. I have no AC in my darkroom and it's located in the attic. Not fun.