Using 120 film in a 116 camera is achievable, though it requires either modification to the camera itself or adaptation of the film’s spools to fit the larger format. This involves ensuring proper film placement, preventing light leaks, and accounting for the difference in image area between the two film formats.
Understanding the 116 Format and Why Adaption is Necessary
The 116 film format, popular in the early 20th century, produced images approximately 2.5 x 4.5 inches (6.5 x 11 cm) in size. Cameras using this format, like many Kodak models, are now largely obsolete due to the discontinuation of 116 film. Conversely, 120 film, a medium format film introduced by Kodak in 1901, remains widely available and supported. It produces images typically 6×6 cm, 6×7 cm, or 6×9 cm depending on the camera. The difference in spool size and film width prevents simply dropping a 120 roll into a 116 camera. The 116 camera spool is longer and slightly wider than the 120 spool.
The Core Challenge: Accommodating Different Spool Sizes
The primary obstacle is the difference in spool size. The 116 spool is significantly larger, both in diameter and length, than the 120 spool. This means the 120 spool won’t fit securely in the 116 camera’s spool holders. Furthermore, the film gate, the opening through which the film is exposed to light, is designed for the wider 116 film. Without modification or adaptation, light leaks and improper film alignment are almost guaranteed.
Methods of Adaptation: Bridging the Gap
There are several approaches to adapt 120 film to a 116 camera, each with its own advantages and disadvantages:
- Spool Adapters: These are custom-made or 3D-printed adapters that allow a 120 spool to fit snugly within the 116 spool holder. This is often the simplest and least invasive method.
- Film Masking: Reducing the image area to match the 120 film’s smaller size through internal masking within the camera body. This ensures sharp images despite the wider gate.
- Spool Swapping: Carefully re-spooling the 120 film onto a 116 spool in a darkroom or changing bag. This is the most delicate and risky method, as it increases the chance of scratching or damaging the film.
- Camera Modification: Physically altering the camera’s spool holders to accommodate 120 spools. This is a permanent change and requires skill and caution.
Practical Steps for Shooting 120 in a 116 Camera
Regardless of the chosen method, careful preparation and execution are crucial for successful results.
- Choose Your Adaptation Method: Select the method best suited to your skills, available tools, and desired level of permanence. Spool adapters are generally recommended for beginners.
- Prepare Your Camera: Thoroughly clean the camera’s interior, paying particular attention to the film gate and spool holders. Remove any dust or debris that could scratch the film.
- Load the Film in Complete Darkness: This is especially critical if re-spooling the film. Even a brief exposure to light can ruin the entire roll.
- Secure the Spools: Ensure the 120 spool (or adapted spool) is securely seated in the spool holders. Use tape or shims if necessary to prevent movement.
- Advance the Film Carefully: Monitor the film advance mechanism to ensure smooth and even winding. Listen for any unusual sounds that might indicate a problem.
- Mind the Frame Counter: Since the 116 camera is designed for a different frame size, the frame counter will not be accurate for 120 film. Keep a mental note of the approximate number of turns required to advance to the next frame.
- Unload the Film in Complete Darkness: As with loading, unloading must be done in complete darkness to prevent light leaks.
- Clearly Label the Film: When sending the film for development, clearly indicate that it was shot in a 116 camera and may require special handling.
Frequently Asked Questions (FAQs)
Here are some common questions about using 120 film in a 116 camera:
FAQ 1: Are spool adapters readily available?
Answer: Spool adapters are becoming increasingly available through online retailers specializing in vintage camera accessories. They can also be 3D-printed if you have access to a 3D printer or a 3D printing service. Search for “120 to 116 spool adapter.”
FAQ 2: What type of film should I use?
Answer: Black and white film is often a good choice for vintage cameras, as it tends to be more forgiving. However, you can use any 120 film you prefer, considering factors like ISO, grain, and tonal range. Experimentation is key!
FAQ 3: How do I prevent light leaks?
Answer: Light leaks are a common problem when adapting film formats. Carefully inspect the camera’s light seals and replace them if necessary. Masking the edges of the film gate can also help to minimize light leaks. Black electrical tape can be used strategically.
FAQ 4: Will the images be the same size as the original 116 format?
Answer: No. The images will be smaller than the original 116 format. The size depends on the 120 camera’s format you’re emulating (e.g., 6×6, 6×7, or 6×9).
FAQ 5: Can I use the original 116 spools?
Answer: Yes, re-spooling onto a 116 spool is an option, but it requires a darkroom or changing bag and extreme care to avoid damaging the film.
FAQ 6: Is camera modification a good idea?
Answer: Camera modification is a permanent change and should only be considered if you are comfortable with modifying vintage equipment and understand the risks involved. It’s generally best to start with less invasive methods like spool adapters.
FAQ 7: How do I determine the correct exposure settings?
Answer: Most older cameras lack built-in light meters. You can use a handheld light meter or a smartphone app to determine the correct exposure settings. Alternatively, use the “Sunny 16” rule as a starting point.
FAQ 8: Where can I get my film developed?
Answer: Not all photo labs develop film shot in adapted formats. Contact the lab in advance to ensure they can handle it and inquire about any specific instructions. Emphasize the film was shot in a 116 camera using 120 film.
FAQ 9: How do I deal with frame spacing issues?
Answer: Since the 116 camera’s frame counter is inaccurate for 120 film, you’ll need to manually estimate the frame spacing. Make a note of how many turns of the advance knob are needed for each frame, based on your initial testing. Be prepared to waste a few frames on your first roll.
FAQ 10: What if my camera is missing parts?
Answer: Finding replacement parts for vintage cameras can be challenging. Online forums and auction sites are good resources. You might also consider purchasing a parts camera.
FAQ 11: Is there any risk to my camera?
Answer: While using 120 film in a 116 camera shouldn’t damage the camera if done carefully, there’s always a small risk, especially with older and more fragile models. Proceed with caution and avoid forcing anything.
FAQ 12: What’s the biggest advantage of doing this?
Answer: The biggest advantage is breathing new life into a vintage camera that would otherwise be unusable. It allows you to experience the unique charm and character of these classic cameras with readily available film. It also allows you to achieve the perspective and feel of lenses that are not readily available in modern formats.
Embracing the Imperfection: The Beauty of Vintage Photography
Shooting 120 film in a 116 camera is not about achieving clinical perfection. It’s about embracing the imperfections, the quirks, and the unique aesthetic that comes with using vintage equipment. The results might be unpredictable, but they will undoubtedly be rewarding. The process itself becomes part of the creative experience, connecting you to a bygone era of photography. By taking the time to adapt and experiment, you can unlock the potential of these forgotten cameras and create images that are both timeless and uniquely your own.