haeberlein
Hello!
Is 220-format roll film (for my Pentacon Six) still available to buy in colour and black and white, or has it gone out of production?
Thanks.
Urnes
220 film is still available. Just have a look on the relevant manufacturers’ websites. Fuji, for example, still offers Provia in 220 format. However, 220 film isn’t
any cheaper. 2 x 120 is usually cheaper.
Regards, Sven.
cfb_de
What’s more, most laboratories charge more for 220 film development than for two rolls of 120. The aim is to put customers off this film format, which is expensive for the manufacturer.
If you want 220 film, you’re most likely to buy it in Japan or the United States. On the one hand, the selection is greater there; on the other, the prices are significantly lower.
Best regards,
Franz
haeberlein
Is there an online shop, as I won’t be able to go there in person?
Regards, Rene
What’s more, most labs charge more for 220 film development than for two rolls of 120. This is intended to put customers off this film format, which is expensive for the manufacturer.
If you want 220 film, you’re most likely to buy it in Japan or the United States. On the one hand, the selection is greater there; on the other, the prices are significantly lower.
Best regards,
Franz
Tandemfahren
Hi Rene,
Unfortunately, I don’t know of any online shop that stocks the 220 either, but I’d be really interested to find out.
I’d also like to know why (apparently) demand for the 220 is so low compared to the 120 – in my view, it really does seem to have nothing but advantages? - With 220 in the camera, I can almost behave as if I were using 35mm; and anyone who’s ever lugged film for 2,500 shots across Australia by bike will surely find 220 absolutely brilliant.
Not to mention the supposedly better flatness.
Hi Franz, now I’m curious. Why is 220 more expensive for the manufacturer? I thought twice the amount of film with just one reel, plus the saved backing paper... surely that should be cheaper? Yet they’re always more expensive than two 220s.
By the way, Gera has been conducting the development quite reasonably at double the price so far.
Best regards
Frank
MichaelLaun
I’m not Franz,
but the reason why 220 film is more expensive than 120 film is likely simply down to the fact that fewer rolls are produced and the packaging is different. Smaller quantities -> higher price. The 220 format is aimed at professional photographers who work on a commission basis and for whom the cost of film is of secondary importance.
There are certainly some online shops that still list 220 Kodak Portra 160 and Portra 400 as 220s, and I can imagine that the host could also source 220s if there were serious demand.
Best regards,
Michael
Urnes
So, when it comes to Kodak Portra, the 220 is now costing about 2.5 times as much. On the other hand, you always need a camera that can handle the 220. You usually need a different pressure plate for the 220 because the film is thinner.
Regards, Sven.
haeberlein
So, I have a Pentacon Six TL, which is designed for 220 film. I’m not worried about the development at all, as I develop everything myself anyway (just for the fun of it).
Rene
cfb_de
Here: http://www.japanexposures.com/shop/index.php?cPath=29&sort=2a&page=2 – for example, an overseas mail-order company. The comparison with the 120 is right next to it on the left.
Here: http://www.bhphotovideo.com/c/search?ci=2545&N=4277998830+4289268855 offers a wider selection; you can compare it with the 120 model yourself there.
In short: all the fuss about the 220 isn’t worth the effort.
Best regards,
Franz
haeberlein
Well, I suppose it can certainly be useful to use a 220 at times. Usually, though, you go for the 120 anyway, as it gives you more flexibility.
MirkoBoeddecker
The higher price is due to the fact that fewer cameras can use this film, meaning that fewer units are produced.
It is an additional product requiring its own machine, machine operators and rooms that need to be kept under steam, and the release paper is also different. If you then only produce very small quantities, the fixed costs quickly eat into your profits.
In principle, you’d also need to apply an additional backing to protect the film from scratches caused by the pressure plate, but that would probably take us into the realm of the impossible (an additional product in the film casting process – oh dear!) and that’s why I reckon manufacturers are either leaving it out these days or generally including it *with* all films.
Best regards,
Mirko
klaus123
Hello
I’d also been looking for 220s for ages, though I was increasingly interested in the developing process.
I’ve now figured out how to wind two 120s into a spiral, so I don’t need 220s anymore.
Best regards
Klaus
kessler
Hello
I’d also been looking for 220s for ages, though I was increasingly interested in the developing process.
I’ve now figured out how to wind two 120s into a spiral, so I don’t need 220s anymore.
Best regards
Klaus
Hello Klaus,
How do you manage to ensure the films don’t overlap?
Do you tape them together beforehand?
Thanks for explaining.
Regards,
Martin
Tandemfahren
Hi there Martin,
I’m not Klaus, but anyway: it’s really simple.
Jobo makes spires with a separator clip; you just push the first film all the way in, clip the red tab shut, and then push the second film in behind it until it’s flush.
But it works just as well without it. Push the first film all the way in, and the second one just until it’s completely inside the spiral. Works every time. There’s no such thing as a film that’s too long.
All the best,
Frank
P.S. Mirko, thanks for the expert reply!
Wolfgg
If there’s no separator clip, or – as in my case – if it’s long since broken off: with the second film, fold the corners (just the corners, not the whole front edge) back by about 2 mm at the start, and it won’t slide over its ‘predecessor’ anymore.
Best regards, Wolfgang
CPD
What’s more, most laboratories charge more for 220 film development than for two rolls of 120. The aim is to put customers off this film format, which is expensive for the manufacturer.
If you want 220 film, you’re most likely to buy it in Japan or the United States. On the one hand, the selection is greater there; on the other, the prices are significantly lower.
Best regards,
Franz
That isn’t necessarily the case. At ‘my’ lab, you paid noticeably less for the development of a 220 than for two 120s, so it was definitely worth it. (I don’t know if that’s still the case since the lab changed hands. I haven’t been there for quite some time.)
As a ‘frequent traveller’ – on foot and by bike – I’m a big fan of 220 film (and even more so of 70 mm film) for reasons of weight and volume – but the reality is that 220 film is hardly available anymore, whereas for 70 mm there’s still a comparatively large ‘range of options’ available. Nevertheless, I resigned myself to switching to 120 a few years ago. That way, you’re a bit safer from the surprise of a product being discontinued.
In Japan, there are (or were?) even half 120s. That is, 6 shots at 6x6 instead of 12.
Ciao!
CP
TR
I'm not Franz,
Hi Martin,
I’m not Klaus, but still: it’s really simple.
Brilliant!
Tandemfahren
Take a look! It's all very simple...
Frank
haeberlein
I’ve just bought some brand-new 220-metre rolls of Fuji Pro 160 film in the US. Including postage and German VAT (customs duty is waived on orders up to €150
klaus123
Hello
I’d also been looking for 220s for ages, though I was increasingly interested in the developing process.
I’ve now figured out how to wind two 120s into a spiral, so I don’t need 220s anymore.
Best regards
Klaus
Hello Klaus,
How do you manage to ensure the films don’t overlap?
Do you tape them together beforehand?
Thanks for explaining.
Regards,
Martin
Hello (I’m Klaus and I’ve only just seen the question – sorry)
At first, I always stuck the films together, but that’s always quite a fiddly job. Nowadays, I reel the first film all the way into the spiral (Jobo 1000) and then reel the second one in just far enough so that it’s barely in – in my experience so far, that leaves enough space between the two films.
Best regards
Klaus
