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

[Nokton48]

Out of twenty + some rolls, I had one that was folded wrong at the end, I ended up unloading the camera in the darkroom (Mamiya C33) and have not had any further issues. I like the tonality in D23 1:1 it's very good. Still have about twenty rolls of Shanghai 220 to go. And a bunch of new negatives to print.

Shanghai 220 Low Key Valentine Roses C22 105DS D23 by Nokton48, on Flickr

Testing Shanghai 220 in D23. Mamiya C22 105DS lens Broncolor 80x80cm Softbox Modeling Light Only Silver Fill Panel just off camera right. My old low key OMNI Muslin Background it's beeg 10x20 feet. Happy to use it again. Omega DII Omegalite laser aligned Arista RC #2 paper in Multigrade dev

Testing new C22 105DS Shanghai 220 D23 by Nokton48, on Flickr

Testing long exposures in new Mamiya C33 105DS lens Shanghai 220 D23 dev. Thirty second exposure. Omega DII Omegalite head laser aligned Arista RC #2 paper Multigrade dev. Came out kind of high key I sort of like it

 

[Sirius Glass]

Out of twenty + some rolls, I had one that was folded wrong at the end, I ended up unloading the camera in the darkroom (Mamiya C33) and have not had any further issues. I like the tonality in D23 1:1 it's very good. Still have about twenty rolls of Shanghai 220 to go. And a bunch of new negatives to print.

Shanghai 220 Low Key Valentine Roses C22 105DS D23 by Nokton48, on Flickr

Testing Shanghai 220 in D23. Mamiya C22 105DS lens Broncolor 80x80cm Softbox Modeling Light Only Silver Fill Panel just off camera right. My old low key OMNI Muslin Background it's beeg 10x20 feet. Happy to use it again. Omega DII Omegalite laser aligned Arista RC #2 paper in Multigrade dev

Testing new C22 105DS Shanghai 220 D23 by Nokton48, on Flickr

Testing long exposures in new Mamiya C33 105DS lens Shanghai 220 D23 dev. Thirty second exposure. Omega DII Omegalite head laser aligned Arista RC #2 paper Multigrade dev. Came out kind of high key I sort of like it

Please explain what you meant, "Out of twenty + some rolls, I had one that was folded wrong at the end, I ended up unloading the camera in the darkroom (Mamiya C33) and have not had any further issues."

 

[Nokton48]

Please explain what you meant, "Out of twenty + some rolls, I had one that was folded wrong at the end, I ended up unloading the camera in the darkroom (Mamiya C33) and have not had any further issues."

At the end of one roll, there was a fold where it didn't need to be. I went in the darkroom, unrolled and re-rolled the film end, and then it went through the camera ok the second time

 

[MCB18]

The only RB back I have is a 120/220 6x7 power winder, one of the best backs you can get for the RB. And I absolutely use its 220 functionality, I re-roll Agfa Aviphot 200 into my own 220. Good film, love 220. May I never run out of Agfa.

 

[Donald Qualls]

Just put on the other end an empty 135 casette.

I'm working out how to do this and make the result convenient to load and field reloadable (that is, not much if any worse than changing film in a cassette to cassette 35 mm body). I think I've got it beat, I just need to find time to run a test roll or two. In the meantime, most users will still need to rewind the cassette in a changing bag or take the film back into a darkroom to unload.

 

[Duceman]

On the back left, forty rolls of bought fresh 220 TXP, when B&H was closing it out. Always deep frozen.

I sure do miss 320TXP in 220.

 

[Nokton48]

My Stash of 220 Film by Nokton48, on Flickr

I need to start using this stuff on upcoming projects. I like not having to reload so often. Same even more so with my 70mm stuff. I have the 220 backs and the film so why not use 'em? Shooting Hasselblad 70mm is kinda work flow like shooting digital, no need to look at the film counter.

 

[ic-racer]

Oh yes!!

 

[MCB18]

My Stash of 220 Film by Nokton48, on Flickr

I need to start using this stuff on upcoming projects. I like not having to reload so often. Same even more so with my 70mm stuff. I have the 220 backs and the film so why not use 'em? Shooting Hasselblad 70mm is kinda work flow like shooting digital, no need to look at the film counter.

Most interested in that HP5+ tbh, never actually seen Ilford 220.

 

[RalphLambrecht]

I wondered who has 220 cameras and or film backs and if anyone thinks they will use them. Will you sell them? Keep them just in case? Try to convert to 120? Other?

I have and use them. I think, they ar the best compromise between the flexibility of 35mm and the negative quality of 4x5 cameras.

 

[ic-racer]

Frustrating as I have one camera sitting at #10 and another at #11. They just sit like that. Nothing really that I can really do with a single or two exposures. Many times I think it best just to waste the frame and process the film, so it does not sit around in the camera a long time.

 

[Donald Qualls]

Many times I think it best just to waste the frame and process the film, so it does not sit around in the camera a long time.

Steve O'Nions (on YouTube) seemingly does this -- he'll bracket and shoot only three scenes (three frames each) on a roll of 120 in his Bronica -- at least the video makes it seem that way...

 

[Jeremy Mudd]

My Stash of 220 Film by Nokton48, on Flickr

I need to start using this stuff on upcoming projects. I like not having to reload so often. Same even more so with my 70mm stuff. I have the 220 backs and the film so why not use 'em? Shooting Hasselblad 70mm is kinda work flow like shooting digital, no need to look at the film counter.

I also found a deal about a year ago on a similar amount of 320TXP in 220 with the idea I'd use it for a project. Still haven't come up with the project yet!

 

[Sirius Glass]

Steve O'Nions (on YouTube) seemingly does this -- he'll bracket and shoot only three scenes (three frames each) on a roll of 120 in his Bronica -- at least the video makes it seem that way...

I have so rarely found that to be necessary or useful, that if has been many years since I needed to bracket exposures. Of course if one owns stock in film companies then go ahead a bracket for everything.

 

[Donald Qualls]

Of course if one owns stock in film companies then go ahead a bracket for everything.

Steve is a big stickler for shadow detail, and brackets in order that the hard-to-meter light will give him an exposure he likes.

 

[Sirius Glass]

Steve is a big stickler for shadow detail, and brackets in order that the hard-to-meter light will give him an exposure he likes.

But if one understands and can use the Zone System exposure setting, then automatic bracketing is wasteful and very unnecessary.

 

[Donald Qualls]

But if one understands and can use the Zone System exposure setting, then automatic bracketing is wasteful and very unnecessary.

Perhaps you should subscribe to his channel and tell him that in comments...

 

[MattKing]

I have so rarely found that to be necessary or useful, that if has been many years since I needed to bracket exposures. Of course if one owns stock in film companies then go ahead a bracket for everything.

Outside of the difficult exposure conditions when bracketing is most valuable, I also bracket intentionally, to provide future choice.
From a presentation discussing near IR photography with Ilford SFX:

 

[Sirius Glass]

Perhaps you should subscribe to his channel and tell him that in comments...

As if he would listen. Like many writers with a following, the following are a collection of true believers and new believers who would immediately flee is the writer changes or modifies his or her message. Unfortunately our society has become vertically integrated and outside opinions are no longer welcome. In the past our society was horizontally integrated and out lying opinions were given a reasonable or fair hearing, discussed and weighted, providing change and growth.