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So why did 120 (and 127) manage to thrive when the others died out?

AgX said:
During my whole school time I only came across two Hasselblads.
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One Barnack in hands of pro, no Ms, no blads.
The first press guy was using a Halina TLR...
 
What I don't understand is why discontinuing 220. Most modern high quality MF cameras can use 220 to produce double number of shots per roll. By discontinuing 220 it forces these cameras to only use 120 which in my opinion will result in fewer shots taken and less film sold. It is not a bright marketing strategy. WHen I go to eat fast food in Summer I tend to go medium or even large soft drinks than small ones. I will get a small one mostly because of free refills.
 
220 never had a plethora of emulsions to choose from. From the start 220 was limited in choices. That only got worse. When I had the Mamiya C330 there were no black & white films. I sold the Mamiya and got the Hasselblad; the choices were even fewer. I decided not to invest in 220 backs. That was a decision that history proved to be a good one. If the films were available when 220 first came about, I would have supported it. If the films were available in 2007, I would have supported it. I for one cannot shoot film that is not available in any format which I use. Since I could never get what I used, I could never support it. I am sure that I am not the only one.
 

It is because the finishing process (sourcing and adding leaders and trailers) has become problematic.

The machines used for the purpose are special purpose, very expensive, and in the case of Ilford, worn out beyond economic repair or replacement.

And the supplier of the special purpose paper (reputedly just one left in the world) has immense minimum purchase requirements.

When volumes were high, 220 made sense to the manufacturers.
 
Not my perspective the film manufacturers proposed 220 in the hopes of selling more film at a higher margin.

Less packaging ie less than 50% packaging so even at twice the price more profit.

In UK only high volume stockists shelved it in '90s, 120 was higher volume, by 2005 it was mail order only.

MattKing said:
It is because the finishing process (sourcing and adding leaders and trailers) has become problematic.
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? They could have used a guillotine on 120
MattKing said:
The machines used for the purpose are special purpose, very expensive, and in the case of Ilford, worn out beyond economic repair or replacement.
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Rusting from lack of use maybe?
MattKing said:
And the supplier of the special purpose paper (reputedly just one left in the world) has immense minimum purchase requirements.

When volumes were high, 220 made sense to the manufacturers.
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When volumes did not materialise the manufactures will have had difficulty getting resellers to buy it without selling it cheaper than two 120.

Only Fuji's c41 and E6 volume will have had a good margin for Fuji.

No different from Kodachrome or 127.

Use more 120 or buy a bigger fridge.
 
I did not use 220 film because my film development equipment can only handle 120 film. When 220 film was discontinued, I was able to buy lot of 220 film for a decent price. However, now I cannot find a professional lab to development 220 film.
 
Used Patterson tanks are real cheap, if you can load 120 readily you can load 220.

The only tank that won't take a 120/220 film is the dedicated 35mm tanks, the next size up universal will take one 220. The 3x 35mm size will take 2 off 220 films the plastic reels are universal and will do 35mm 127 and 120/220.
 
Thinking on this all the tanks I own have the film sizes they take and amount of developer needed to develop said film sizes listed on the bottom of the tank.
 
Harry Stevens said:
Thinking on this all the tanks I own have the film sizes they take and amount of developer needed to develop said film sizes listed on the bottom of the tank.
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Or on the side. Good point.

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