220 Cameras and Film Backs...Have Any, Think You Will Ever Use Them?

[Sirius Glass]

I understand that 220 backs make excellent book ends and doorstops but repeatedly fail as boat anchors.

 

[Grim Tuesday]

Sirius, you are welcome to send your hasselblad A24 220 backs to me -- I will happily pay for shipping and compensate you for their "scrap value" in steel! I'd be happy to send you more appropriate boat anchor and print weighing materials if you would want.

Everyone else should know that A24 backs work perfectly for 120 film on Hasselblad if you load the film slightly differently, following this technique: https://mraggett.wordpress.com/2013/03/28/120-film-in-hasselblad-220-magazine/ I use A24 backs exclusively and have excellent results in sharpness.

 

[flavio81]

I understand that 220 backs make excellent book ends and doorstops but repeatedly fail as boat anchors.

I've modified one of my mamiya ETR backs for 120 use, where it gives me 16 exp instead of 15. The other ones i use for actual 220 film.

 

[eli griggs]

I have several 220 Hasselblad backs and use them for 120.

If I had access to 220, I would use that instead.

I just bought two A70, 70mm film backs for my camera and plan to use any film I have to hand or find in the future.

120 cameras that allow the use of other formats are a blessing, IF you find and use the films needed to keep them reaching to otherwise, ignored kit.

IMO.

 

[Roger Cole]

I have some frozen 220, and a Yashicamat 124 as well as a 220 insert for my M645 Pro backs. I’ll probably shoot it in the latter to get the most exposures from it (as well as better, interchangeable lenses, auto exposure and a winder grip.)

 

[Nokton48]

"I understand that 220 backs make excellent book ends and doorstops but repeatedly fail as boat anchors."

Well I shot some fresh Shanghai 220 in the studio yesterday. Some in Mamiya C22 and some in an A24 Hasselblad
I have four or five cameras and backs loaded with 220 right now

 

[Besk]

Mercury Camera Company sells a 35mm conversion kit for 220 backs for the RB67. It includes the spool adapter, a replacement face plate for the back that has a cut out for 35mm film and also a numbering system to keep up with the exposures. With complete instructions if needed.

I don't own a RB but use the back with my miniature Crown Graphic.

 

[Huss]

Best price for Shangahi 220 is on Amazon and you’ll get it next day.
Super film, no issues using it in regular developers. Using Cinestill Monobath only dev @ 70 otherwise the emulsion gets too soft.

 

[Roger Cole]

Best price for Shangahi 220 is on Amazon and you’ll get it next day.
Super film, no issues using it in regular developers. Using Cinestill Monobath only dev @ 70 otherwise the emulsion gets too soft.

What kind of real film speed are you getting out of it? Someone in the thread about loading it on reels commented that they were only seeing a real speed of about EI25 or something like that. That's absurd. I can live with a film that needs a stop more than box would indicate (heck, many that don't "need" that still benefit from it) but not that kind of difference, or a film that slow.

 

[Andrew O'Neill]

Like Donald, I too have a 220 back for the RB67. I use it for 120. Must keep a careful eye on the number of exposures taken, otherwise you'll be taking shots on backing paper. That has NEVER happened to me...

 

[Philippe-Georges]

A Hasselblad A24 can be modified to work perfectly with 120 rolls, 120 is a little thicker than 220 as the latter has no backing paper, and the exp. counter and the transport stopper ofcourse.
I hold on mine in the hope that 220 rolls will come back...

 

[eli griggs]

A Hasselblad A24 can be modified to work perfectly with 120 rolls, 120 is a little thicker than 220 as the latter has no backing paper, and the exp. counter and the transport stopper ofcourse.
I hold on mine in the hope that 220 rolls will come back...

What I've seen on, YouTube, and practice is, treating the printed arrow as an analog clock running backwards, is instead of rolling the arrow up to 12, simply run it up to between 1 and 2.


It's simple, and leaves you A24 ready to take 220, should you have some to hand.

Cheers and Godspeed to All!

 

[ant!]

The only camera I have which takes 220 film is the Pentax 645n (ah, and my Pentax 645...). I have two 120 and one 220 film holder. Got the 220 holder cheap since I got with the camera a handful expired 220 Portra 400 VC, and got some cheap expired Delta 400. I guess if I see some ok priced 220 films and they sound like the film could be not in a totally horrible condition, I will buy some more...

I am actually right now trying out the Portra VC out @ISO100, let's see how it looks. When I reached exposure #16, the camera surprised my by winding the film and told me the film is over. Turned out someone had converted the film holder to 120 by turning the indicator pin... So I turned the pin again (at least an easy fix), respooled the film in the dark bag back to start and shot to #17 in the bag. So now I can use the second half...

Regarding the use of 35mm film in 220 holders: Is this something which can be done as well with the Pentax 645(n)? I assume getting the film in the holder is the same as described above, but would the exposure counter and film advance work correctly? Is the fact that 35mm film attached to the spool creating any trouble/damaging the camera at the end of the roll? 220 holder is better for this then 120 holder since both 220 and 35mm have no backing paper, right? You spool it directly onto a 120/220 spool (these are the same, right? Or any diameter differences?) and unload in the dark? I guess this means either black & white, since getting C41 to the lab like this might be messy (or rolled in a black 35mm film container?)?

 

[Nicholas Lindan]

The backs for my Mamiya Universal can take 220 - but I know I will never use them for that format.

 

[Donald Qualls]

I guess this means either black & white, since getting C41 to the lab like this might be messy (or rolled in a black 35mm film container?)?

The first time I shot 35 mm in a 220 film back, I opened the back in the changing bag (darkroom wasn't dark yet), manually rewound it into the cassette, and mailed it off the The Darkroom, checked "return negatives," "do not cut," and "standard scans" but no prints. All hunky-dory. Cost too much, so once my darkroom was up I immediately got some Flexicolor chemicals and started doing my own C-41 -- but it worked fine. I'd bet it wasn't the first such roll they've handled.

You'll be opening the film back in a darkroom/changing bag anyway, it's easy as can be to use one of the 120/135 adapters as a knob to rewind the film, and then for negatives and scans, anywhere you'd mail the film to can handle "do not cut" and no prints, and whatever scan resolution you're willing to pay for.

And seriously, if you process B&W, there's no good reason not to do C-41. Temperature control and the short development are the only new challenges.

 

[ant!]

The first time I shot 35 mm in a 220 film back, I opened the back in the changing bag (darkroom wasn't dark yet), manually rewound it into the cassette, and mailed it off the The Darkroom, checked "return negatives," "do not cut," and "standard scans" but no prints. All hunky-dory. Cost too much, so once my darkroom was up I immediately got some Flexicolor chemicals and started doing my own C-41 -- but it worked fine. I'd bet it wasn't the first such roll they've handled.

You'll be opening the film back in a darkroom/changing bag anyway, it's easy as can be to use one of the 120/135 adapters as a knob to rewind the film, and then for negatives and scans, anywhere you'd mail the film to can handle "do not cut" and no prints, and whatever scan resolution you're willing to pay for.

And seriously, if you process B&W, there's no good reason not to do C-41. Temperature control and the short development are the only new challenges.

Thanks! Yeah, I have in Montreal a lab which processes C41 for CAD 4.50 (only development, I scan by myself), so haven't bothered with color development yet. It's just a few films per year, the chemicals might get bad on me (b&w I use Rodinal and HC-110 for the shelf life...).
But yes, rewinding back into the canister makes sense, should have thought about it...

 

[JamesEsq]

I have 220 magazines for Hassy, Rolleiflex 6008 and RZ67--I've decided to try the new Shanghai GP3 220 B&W film after all my expired 220 film is gone.

 

[wiltw]

I have several 220 backs for my Bronica ETRSi, used extensively for wedding/reception coverage decades ago (before digital). Since I also have several 120 backs, I see no reason to try to use 220 backs for 120 film, and so I fear they are obsoleted by discontinuance of 220 film production. The few emulsions made today in 220 are not emulsions that I have any need/desire to try.

 

[Subversive Mk II]

I bought a couple of 220 film inserts for my Mamiya 645, with the intention of simply converting them to 120 when I'd exhausted my small stock of Konica Centuria Pro 400 in 220. Then Shanghai came up with 220 monochrome, so I'll leave them as they are for now.

 

[Andrew O'Neill]

I bought a 220 back for my RB67 a couple years ago, with the intention of only using 120 film. Works fine, although I have to keep an eye on exposures otherwise I'll be taking lovely photos on backing paper... I have no intention of using 220 film... but you never know!

 

[Sirius Glass]

Back in 2007 I was going to buy a Hasselblad 220 back, looked at what was available in film, and bought more 120 backs. One of my better decisions.

 

[abruzzi]

I had an ETRSi 120 film back that had a wonky open slide, but the film transport insert was fine, so I bought a 220 for cheap (due to the lack of 220 film) and switched the inserts. I've never used the 220 insert, but its in a drawer somewhere.

 

[AnselMortensen]

I have 2) 220 backs for my ETRSi...one for color, one for B/W.
Nice to have 32-exposure rolls when photographing people, not having to reload every 5 minutes.
I have one for my Hassy, just because.

 

[Nokton48]

My Stash of 220 Film by Nokton48, on Flickr

In the center back, twenty rolls fresh Shanghai 220, to go with what I already have in stock and loaded. On the back left, forty rolls of bought fresh 220 TXP, when B&H was closing it out. Always deep frozen. In the front, eleven rolls of 220 PXP bought wherever I could find it. Usuable but questionable. And in the center, five rolls of 220 HP5+ bought fresh and frozen. Wish I had more HP5+ in 220, I used it for B&W wedding or two. And finally lower right, a propack of 220 Konica 160. I'll use this for frame spacing tests. Thanks to Mr Fujicaman for sending me the 220 Konica! .

220 Shanghai twenty rolls. by Nokton48, on Flickr

Firstly I purchased four rolls and liked the results. So I ordered and got another twenty rolls, to give it a good go. So far only one roll has jammed at about frame 19, I reloaded the roll in the camera, and was able to force it through and finish it. I do like this film! So a month ago I ordered another twenty rolls, and recently asked for status. Due to Shanghai closing down during covid, long delays possible. I asked for a refund and got within ten minutes to the seller's credit. Unfortunate situation. I have in the deep freeze 220 HP5+, Plus-X Professional, and Tri-X Professional. I tried to load up as 220 was being closed out and discontinued. I am saving this film for future and going with Shanghai for now. I bought these 220 Hassy backs for a good price from a local portrait studio, they were huffed. Sent all to Hasselblad USA and completely rebuilt. Then they stopped making 220 B&W film. So expired and Shanghai keeps these going for a while. I do have a propack of E100 color E6 220, which I could get cross processed.

 

[Kodachromeguy]

Nice collection of 220 film! How has the Shanghai film worked for you? Some guy on another thread trashed it even though he had never used it himself (funny how that happens in internet land...).