In 1931, Kodak introduced a new film size--620. This was not actually a new film size, but rather a redesign of the spool used for 120 size film. Before you accuse Kodak of the proprietary shenanigans practiced by contemporary software manufacturers, let's consider some of the issues. The 620 spool is more compact. It has a smaller spindle and thinner and smaller flanges; thus the overall size of a spool of 620 film is smaller. When Kodak developed its roll film formats, wooden spools were used, but these were later replaced by stronger metal spools that could be smaller. This allowed Kodak to make somewhat thinner cameras and minimize the size of the film spool chambers. Coming at about the same time as 828 film--unsprocked 35mm film in 8 exposure lengths spooled on what amount to mini 620 spools--it is possible to see the introduction of 620 as a design trend in film packaging. That said, did the redesign significantly benefit the film-buying public? Probably not. The smaller spindle size probably increased film curl somewhat and introduced a complexity for retailers and camera users. Virtually all U.S. and German Kodak cameras that used 2 1/2 inch wide film used 620. If you want to shoot with these cameras now you have three choices:
Spooling Principles. The backing paper's size and the ruby-window numbering for 120 is the same as for 620. If after reading this procedure, you think it is beyond you and/or your resources, you can buy 620 film for $8-10/roll. Contemporary 120 film, in all its emulsive variety, is relatively easy to respool onto 620 spools in a darkroom or changing bag. Here is a sketch of the film configuration of rollfilm. The goal
is to get the 120 film and its backing paper tightly wound onto the 620
spool, which involves a double winding operation. Respooling. First wind the film into its exposed configuration, which is most easily done in a 120 camera that has no mechanical shutter wind/film indexing linkage, just the ruby window in the camera back. The tape shown in red above is there to keep the film properly registered to the backing paper and to get the film winding operation off to a good start. Once on the exposed 120 spool, reroll the film by hand in a darkroom onto an empty 620 spool, making sure to save the 'Exposed' label. Keep the spools close to each other and keep the film and paper tightly wound onto the 620 spool during the entire rewinding operation. I cup both rolls in one hand and turn the 620 spool with the other until I feel the free end of the film, then lay both spools on a clean flat surface and tuck the film's free end in where the paper of the 620 roll meets the 620 reel. Making sure that the film and paper are now flat against each other, I begin winding the two reels again as previously described. .......... Avoid the Dreaded Backing Buckle.. It is nearly impossible to keep the registration perfect during this operation and you will find that when you come to the factory taped point, the film has moved slightly forward or backward in relation to the backing paper. If you are careful to keep the rewinding tightly controlled on the 620 spool, this difference will not be enough to cause problems in the image placement when you shoot the roll, but it does cause a buckle in the backing paper or the film and that can cause light leaks at the flanges. The workaround is to carefully remove the existing tape from the backing paper and the film and replace it with fresh tape about 2 1/4 inches long that you have prepared before you turned the lights out. Masking tape works well, but you can also you cellophane tape. Modern backing paper is either plastic or plasticized paper and is very tough, so you won't damage it when you remove the existing tape. Reseal the respooled roll with the original film type label or tape. I do a dozen rolls at a time and hit my stride after about the second roll. This reduces my reroll time to only a couple of minutes per roll.
Testing of Strategies Since Doug's strategy list is the most organized I've come across in discussion lists, I have adopted it for reporting my experience with different Kodak cameras. |
CAMERA |
SUPPLY
CHAMBER STRUCTURE
|
NOTE
|
|
Kodak Tourist I and II | Fixed pin in bottom; retractable pin on top | Edge trimmed (2) roll is too tall to fit; only end-removal (3) would work. | |
Kodak Reflex II | No pins, bale retains supply roll | Edge trimmed (2) rolls will fit, but edges must be smooth and round for roll to rotate. | |
Kodak Regent (Kodak Stuttgart) | Top pin is fixed; bottom pin is mounted on ball joint. | Edge trimmed (2) roll is too tall to fit; only end-removal (3) would work. | |
Kodak Medalist II | No pins, bale retains supply roll; tight fit | Edge trimmed (2) rolls will fit, but edges must be smooth and round for roll to rotate. | |
Vollenda 620 (Kodak Stuttgart) | Fixed pin in bottom; spring-loaded pin in top | Edge trimmed (2) rolls will fit and rotate with no problems | |
Hawkeye |
Uses either 620 or unmodified
120 rolls. |
||
Duoflex | |
Colm McCarthy reports these
will both | work with edge-trimmed rolls |
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Brownie |
Testing Conclusions
Related Topics |
12/09/2007 17:38 |