The short answer is no, you generally cannot reliably load 120 film into a 220 film back without risking issues. While both are medium format films, their backing papers and winding mechanisms are significantly different, causing potential problems with film advance and frame spacing.
While the physical width of the film itself is the same (61mm), the way it’s handled within the camera back is what prevents straightforward interchangeability. 220 film lacks backing paper for its entire length except for short leader and trailer sections, allowing for twice as many exposures on a single roll compared to 120 film, which is wrapped in backing paper for the duration. Let’s delve deeper into the reasons and explore the nuances involved.
Understanding the Core Differences: 120 vs. 220 Film
At the heart of the issue lies the distinct construction of 120 and 220 film. Knowing the structural differences helps explain why simple loading isn’t feasible.
Backing Paper: The Key Distinguisher
- 120 Film: Features backing paper running the entire length of the film, marked with frame numbers to aid in visually spacing exposures. This paper protects the film from light exposure before and after each shot. The pressure plate pushes the backing paper against the film gate.
- 220 Film: Only has backing paper on the leader and trailer. The central portion of the film, where the images are exposed, has no backing paper. This permits significantly more film to be wound onto the spool, leading to double the number of exposures. 220 backs often rely on a pressure plate that directly contacts the emulsion, requiring precise engineering and handling.
Winding Mechanisms: A Matter of Calibration
Cameras and backs designed for 120 film rely on the thickness of the backing paper to correctly gauge how much to advance the film after each exposure. They typically count rotations of the take-up spool. A 220 back, lacking this consistent backing paper thickness throughout, uses a different, often more precise, film advance mechanism. 220 film relies either on precise counter mechanics or on physical pins within the back and/or camera to register the start and end of the film.
The Risks of Forcing the Issue
While tempting to try and force 120 film into a 220 back, doing so presents several risks that can compromise your photographic results.
Frame Overlap: The Most Common Consequence
Without the proper tension and measurement facilitated by the backing paper and correctly calibrated winding mechanism, the film might not advance the precise amount needed for each frame. This can lead to frame overlap, where one image is partially exposed over the next, ruining both frames.
Incorrect Frame Counting: Lost Exposures
If the camera’s frame counter is reliant on the backing paper thickness, it will miscalculate the number of exposures and the end of the roll. You might lose exposures at the end of the roll, or the camera might stop winding prematurely.
Damage to the Film Back or Camera
In some cases, attempting to use 120 film in a 220 back could potentially damage the camera back or the camera itself. The lack of backing paper could cause the film to snag or bind, placing undue stress on the winding mechanism.
FAQs: Deep Dive into 120/220 Compatibility
Let’s explore some frequently asked questions to gain a more complete understanding of the nuances involved.
FAQ 1: What cameras commonly use 220 film?
Many professional medium format cameras used during the peak of film photography offered interchangeable backs, including 220 options. Some of the most popular include:
- Hasselblad V System (500 series, 2000 series)
- Mamiya RB67 and RZ67 series
- Bronica SQ and ETRS series
- Pentax 67 and 645 series
FAQ 2: Is 220 film still manufactured?
No. Major manufacturers ceased production of 220 film years ago. It is now virtually impossible to find new 220 film. Leftover stock might exist but will likely be past its expiration date.
FAQ 3: Can I modify a 220 back to accept 120 film?
Generally, no. Modifying a film back requires significant technical expertise and precision. Altering the film gate, pressure plate, and winding mechanism is a complex undertaking with no guarantee of success. Furthermore, it would likely be irreversible.
FAQ 4: Is it possible to “trick” the 220 back into thinking it has 220 film loaded?
While some users have experimented with adding shims or extra layers of paper to the 120 spool to mimic the missing backing paper thickness, this is a highly unreliable method and is not recommended. The potential for frame overlap and damage to the film back is significant.
FAQ 5: If 220 is discontinued, why are 220 backs still around?
Many photographers still use medium format cameras with 220 backs, either by collecting them or because they already owned them. These backs are often used with 120 film in 120-specific backs. The continued interest highlights the legacy of these cameras and the desire to keep them operational.
FAQ 6: Can I use a 120 back with a camera designed for 220?
While physically possible in some cameras (particularly those with fully interchangeable backs), you must ensure that the camera is set to the correct film format (120). Using the wrong setting can lead to similar issues as trying to load 120 into a 220 back.
FAQ 7: What are the advantages of using 220 film (when it was available)?
The primary advantage was the increased number of exposures per roll (typically twice as many as 120), reducing the frequency of film changes during long shoots or when traveling. This was particularly appealing for professional photographers.
FAQ 8: What alternatives are there if I want more exposures without changing film as often?
If you want more shots without a film change, consider these options:
- Using a camera with a larger film format: 4×5 or 8×10 sheet film offers significantly more image area and allows for shooting individual sheets as needed.
- Investing in a digital medium format camera: Digital backs offer the convenience of digital photography with the image quality of medium format.
FAQ 9: How do I identify whether a back is designed for 120 or 220 film?
Look for markings on the back indicating the film format it supports. The internal mechanisms may also differ visually. 220 backs often have more precise counter mechanisms. Sometimes a sticker, small lever, or switch is present indicating which film the back is designed for.
FAQ 10: Are there any cameras that can automatically detect and adjust for 120 or 220 film?
Very few. Some high-end medium format cameras with sophisticated electronics might have had limited automatic detection capabilities, but these are rare and typically require specific lenses and film backs.
FAQ 11: Can using expired 220 film damage my camera?
Using expired film of any kind carries a risk, but the lack of backing paper in 220 makes it more susceptible to issues. If the film is brittle or sticky, it could damage the film back and potentially the camera’s winding mechanism. Handle expired film with caution.
FAQ 12: Where can I find more information about medium format cameras and film?
Numerous online resources provide information on medium format photography, including:
- Camera-specific forums and user groups
- Photography websites and blogs
- Books and articles on film photography
- Local camera stores and repair shops
By understanding the core differences between 120 and 220 film and the potential risks involved, you can make informed decisions about how to handle these formats and protect your valuable equipment. While experimentation can be rewarding in photography, respecting the limitations of your gear is paramount to achieving the best possible results. Remember, using the correct film format for the designated film back will always be the most reliable and safest approach.