Saturday, August 18, 2018

Saturday, August 4, 2018

Tilting King Street Station by Jon Marmor

 ©Jon Marmor, Tilting King Street Station; Seattle, WA, USA; Baby Brownie Special, ReraPan

Saturday, July 28, 2018

Tic Tac Toe in the Sky by Jon Marmor

 ©Jon Marmor, Tic Tac Toe in the Sky; Seattle, WA, USA; Baby Brownie Special, ReraPan

Saturday, July 21, 2018

A “How To” on Using Cut-Down 120 Film in a 127 Camera That Has a Red Window and Makes 4x3cm or 4x6cm Images - by Luke Taylor

This article shows a way to use 120 film that has been cut down using the technique that directly transfers the full length of 120 (film and backing paper) straight to a 127 spool for use in 4x3cm and 4x6cm 127 film cameras that use one (4x6cm) or two (4x3cm) red windows for frame alignment. While the 4cm frame spacing of a 4x4cm camera can use the same frame numbers printed on the 120 backing paper (16 frames), there doesn’t seem to be an easy way to use cut film in the 4x3 or 4x6 cameras. Here is a method that may be worthwhile. 

With this technique we will only align the first frame using the red window. After that we will blindly rotate the advance knob a predetermined number of degrees for each frame. The number of degrees rotated will be different for each frame. This is because as more film accumulates on the takeup spool, the bigger diameter it will get, and less rotation required to get the same amount of linear film movement. 
 
To aid in rotating the advance knob with a fair amount of precision and no tools we will need to do the following. 
 
1. Put a sticker on the advance knob. 
2. Draw a line that cuts it in half and repeat until 8 equal segments have been formed. 

 
3. When spooling the film, mark the paper where the film element starts.
4. Load the camera with the cut and respooled film and advance until you see the mark made earlier in the red window. Then, using good judgment, advance an amount more that will position the film element for the first shot. This is the last time you will use the red window. 
5. Use the chart below to advance the film for each frame.  You will rotate the advance knob by the “Fullturn” amount followed by the “Segment “ amount. 
 
Table for 4x6cm frames:
Frame     FullTurns     Segments 
1-2               2                 4.5
2-3               2                 2.5
3-4               2                 0.5
4-5               1                 7.5
5-6               1                 6.5
6-7               1                 5.5
7-8               1                 5.0
8-9               1                 4.0
9-10              1                 4.0
10-11             1                 3.0    
 
For example, to advance from frame 2 to frame 3, rotate the knob 2 full turns plus 2.5 segments.

I currently have not tried this in a 4x3cm camera yet, but I assume you could simply divide the “Fullturn” and “Segment” numbers in half. If you try it out, please share the results!
 
- Luke Taylor



Sunday, July 15, 2018

Hope for ReraPan...

Breaking news - a screenshot of a Twitter page, from an anonymous source ...


I'm hopeful... I'll keep you posted on further developments (so to speak) as I hear of them.

Saturday, July 14, 2018

Thursday, July 12, 2018

Happy 127 Day!

Happy 127 Day!

I hope you're having a fantastic time making 127-format photos today.

©J. M. Golding, To begin with hope; northern California, USA; Kodak Brownie Fiesta, Kodak Verichrome Pan, expired 12/75, http://www.jmgolding.com

Wednesday, July 11, 2018

Tomorrow is 127 Day!

Tomorrow, Thursday, the 12th of July, is 127 Day!

127 Film Photography will feature 127-format photographs made on July 12, 2018, in a special exhibition. You're invited to participate!

No fees, no competition, just a friendly virtual community joining together to make 127-format photos on  July 12, 2018.

To show your work,
  1. Take 127-format photographs on  July 12, 2018.
  2. Send one of your photographs from July 12 to 127 Film Photography. Please email one jpg file, 500 pixels wide, to 127filmformat ~at~ gmail.com, by September 12, 2018. (That's a month longer than previously - hopefully this gives everyone enough time to get their film developed and scanned).
  3. In the subject line of your email, type "July 2018 127 Day."
  4. In the body of the email, please include the copyright symbol, your name, the title of the photograph, location, camera and film types, and your website address (or other link to your work). In that order. Please follow this example (you don't have to use initials if you prefer to be known by your full name!):

    ©J. M. Golding, Silently spoken, northern California, USA, Yogi Bear 127 camera, Rerapan, http://www.jmgolding.com  

All types of 127 film format are welcome, whether the film began its existence as 127, or you used 35 mm film in a 127 camera, or you respooled 46mm film, or you cut down 120 film to 127 size ... or maybe you have a technique that I don't know about yet - if so, please tell me so I can share it with others who love this format (with full credit to you, of course - or perhaps you'd like to write a short article for 127 Film Photography about it!). Photos made on 127 film in a different size camera are welcome too.

127 Film Photography will publish all photos received (as long as they are in 127 format and do not contain images of nudity, violence, or exploitation).

I look forward to seeing your 127 Day photos!

Thursday, July 5, 2018

One week till 127 Day!

July 127 Day is only a week away! It takes place on Thursday, the 12th of July (that's 12/7 in European).

127 Film Photography will feature 127-format photographs made on July 12, 2018, in a special exhibition. You're invited to participate!

No fees, no competition, just a friendly virtual community joining together to make 127-format photos on  July 12, 2018.

To show your work,
  1. Take 127-format photographs on  July 12, 2018.
  2. Send one of your photographs from July 12 to 127 Film Photography. Please email one jpg file, 500 pixels wide, to 127filmformat ~at~ gmail.com, by September 12, 2018. (That's a month longer than previously - hopefully this gives everyone enough time to get their film developed and scanned).
  3. In the subject line of your email, type "July 2018 127 Day."
  4. In the body of the email, please include the copyright symbol, your name, the title of the photograph, location, camera and film types, and your website address (or other link to your work). In that order. Please follow this example (you don't have to use initials if you prefer to be known by your full name!):

    ©J. M. Golding, Rain on the tree, northern California, USA, Yogi Bear 127 camera, HP5+, http://www.jmgolding.com

All types of 127 film format are welcome, whether the film began its existence as 127, or you used 35 mm film in a 127 camera, or you respooled 46mm film, or you cut down 120 film to 127 size ... or maybe you have a technique that I don't know about yet - if so, please tell me so I can share it with others who love this format (with full credit to you, of course - or perhaps you'd like to write a short article for 127 Film Photography about it!). Photos made on 127 film in a different size camera are welcome too.

127 Film Photography will publish all photos received (as long as they are in 127 format and do not contain images of nudity, violence, or exploitation).

I look forward to seeing your 127 Day photos!

Tuesday, July 3, 2018

Community question: Cutting down 120 film to 127 size - what size, exactly?

I'm delighted to share 127 Film Photography's first community question.

As noted on the Submit to 127 Film Photography page, 127 Film Photography welcomes readers' questions. All readers are invited to offer responses to the questions that are posted - let's work together as a community!

From Alessandro Lisci:

I have a question that I have not yet resolved, about the size to which I should cut 120 film. In the videos and  articles I've seen, it seems to me that the 120 film is cut to the exact size of the 127 film spool. But the original 127 film is slightly smaller than 127 backing paper (a difference on the order of 1-2mm). Doing a test with the only developing tank in my possession that has a spiral (reel) for 127 film, I realized that the measure is almost exact, and a film even slightly larger would give me problems in loading the spiral. I wonder if it's a general problem, or it's my tank that has a minimal tolerance.
- Translated by Google Translate, with editing by J. M. Golding
-------------------------------------------------------------------------------------------
Io ho un dubbio che non ho ancora risolto, a proposito della grandezza in cui tagliare il film 120. Riguarda questo: Nei filmati e negli articoli che ho visto, mi sembra che il film 120 venga tagliato alla grandezza esatta del film-spool del 127. Però  il film 127 originale, è leggermente più piccolo della carta che lo protegge dalla luce (una differenza nell'ordine di 1-2mm). Facendo una prova con l'unica tank di sviluppo in mio possesso che abbia una spirale per il film 127, mi sono accorto che la misura è praticamente esatta, e un film anche leggermente più grande mi darebbe problemi nel caricamento della spirale. Mi chiedo se sia un problema generale, o la mia tank che ha una tolleranza minima.

Saturday, June 30, 2018

Saturday, June 23, 2018

A strange (Bencini) Comet appeared in 1961 / Una strana (Bencini) Cometa apparsa nel 1961 - by Alessandro Lisci


In the early 1960s, Bencini launched a 127-format roller camera, which, like other models such as Tanit, Comet, etc, produced 3 x 4cm negatives. These models are immediately recognizable by the vertical viewfinder and by the presence on the back of two red windows on left and right,  instead of only one, in the center. The frame numbers on 127 film's backing paper are for square format (4 x 4 cm) exposures. However, with the Cometa, each frame number is used twice: first when the number appears in the first window, and again when the same number appears in the second window. Thus, with this 3 x 4 cm format there are twice as many exposures as are possible with the square format.



Although the Cometa shares this and other features (such as construction of aluminum alloy, meniscus lens, etc) with many other cameras, the Cometa is distinguished by some original (eccentric?) solutions that make it a slightly different camera.

If you hand the Cometa to someone who is not familiar with it, asking them to open the back to remove / load the roll, many people will turn it over in their hands, perplexed, looking for the lock / unlock button or the door hinge (I've made this test personally :). In fact, there is neither: to open and close the back you have to rotate the metal ring around the eyepiece of the viewfinder, and so you screw or unscrew the back of the camera on the camera body (which recalls the diopter adjustment of the viewfinder in some cameras ).
 

Other unusual solutions are the winding knob and the flash mount located on the bottom of the camera, while the upper part remains completely free.

In fact all the other controls, including the shutter release (a generously sized lever), are located on the lens barrel. In the style of these economical cameras in general, there are not many controls, but controls are not completely absent, as they are in some such cameras. The focus is adjustable (from 1 meter to infinity, turning the ring on which the distance scale is engraved), and with two levers (one at the top and one at the bottom) you can choose respectively between two apertures (f9 and f16) and two shutter speeds (1/50 and 1/100 of a second), plus a B setting (there is no threaded connection for a cable release,  present in some other inexpensive models with the classic metal shutter button on the top of the camera). Also on the lens barrel is a plug to which a flash cable can be connected.

Even the general shape is different and original: almost square, with a pleasant mix of rounded and angular lines, and centered above the lens, the large rectangular viewfinder.

The plastic parts on the right and on the left of the viewfinder, in which the words "Bencini" and "Cometa" appear, seem to imitate and allude to the presence of an exposure cell that actually is not there (not unusual in these inexpensive cameras, such as the Yogi Bear 127 camera).

As in many Bencini cameras, the lens consists of a single meniscus lens.

Produced only in the 1960s and not even for the whole decade, the Cometa is finally, among Bencini cameras, also a bit rare: Over several years, compared to many models Bencini (Koroll, Comet, and others), which I have run across several times, I happened to run into a Cometa only once (and I took it home ). Perhaps it is a comet with a rather long orbital period, like Halley's comet. If it appears to me again in the course of my life I will be able to establish it and update this page; otherwise try to check the old eighteenth-century documents, medieval, Chinese, etc., which speak of sightings.

In addition to direct observation, the source of historical information (in Italian) on the Bencini Cometa is these beautiful pages dedicated to the history of Bencini.
 - Written by Alessandro Lisci
translated by Google Translate, with a little help from J. M. Golding
--------------------------------------------------------------------

Agli inizi degli anni ‘60 la Bencini lanciò sul mercato un’altra fotocamera per rulli di formato 127 che, come altri modelli quali Tanit, Comet, etc, produceva negativi di 3x4cm. Questi modelli sono immediatamente riconoscibili dal mirino a impostazione verticale e dalla presenza sul retro di due finestrelle rosse invece che una sola, in posizione centrale. I numeri di riferimento sono infatti quello del formato quadrato (4x4cm) stampati al centro della carta protettiva del film, sul quale si scatta però due volte: una prima volta quando il numero appare nella prima finestrella, e una seconda volta quando lo stesso numero appare nella seconda; ottenendo così un numero di pose doppio rispetto a quelle possibili col formato quadrato.


Seppur la Cometa condivida questo ed altri elementi (come la costruzione in lega d’alluminio, lente a menisco, etc) con molte altre fotocamere, la Cometa si distingue per alcune soluzioni originali (stravaganti?) che la rendono una fotocamera un po’ diversa e particolare:

Se si dà in mano la Cometa a qualcuno che non la conosce, chiedendogli di aprire il dorso per togliere/caricare il rullino, molte persone la rigireranno tra le mani perplessi, cercando la serratura un pulsante di sblocco o la cerniera dello sportello (fatto il test personalmente:). Che infatti, non ci sono: per aprire/chiudere il dorso bisogna ruotare la ghiera metallica attorno all'oculare del mirino, e così si avvita/svita il dorso della fotocamera sul corpo macchina (cosa che ricorda la regolazione diottrica del mirino in alcune fotocamere).


Altre soluzioni poco comuni sono la manopola di avvolgimento e l'innesto per il flash posti sul fondo della fotocamera, mentre la parte superiore resta completamente libera.
 
Infatti tutti gli altri comandi incluso il pulsante di scatto (una leva di dimensioni generose), sono posti sul barilotto dell'obiettivo. Comandi che- nello stile delle macchine di fascia economica- non sono poi molti, ma non sono nemmeno completamente assenti, come in alcune. La messa a fuoco è infatti regolabile (da 1 metro all'infinito, ruotando la ghiera su cui è incisa la scala delle distanze), e con due levette poste una in alto e una in basso si può scegliere rispettivamente tra due diaframmi (f9 e f16) e due tempi di posa (1/50 e 1/100 di secondo), più la posa B (manca però l'attacco filettato per lo scatto remoto, presente negli altri modelli -anche economici- col classico pulsante di scatto metallico nella parte superiore della fotocamera). Sempre sul barilotto dell’obiettivo, vi è lo spinotto a cui va collegato il cavetto del flash.

Anche la forma generale è diversa e originale: quasi quadrata, con un mix piacevole di linee tondeggianti e spigolose, e in asse sopra l’obiettivo, il grande mirino rettangolare.

La parti in plastica a destra e a sinistra del mirino, in cui appaiono la scritta “bencini” e “Cometa”, sembrano imitare e alludere alla presenza di una cellula esposimetrica che in realtà non c’è (una cosa tipica in molte fotocamere di fascia economica), come non c’è nessuna indicazione sul semplice mirino di tipo galileiano.
Così come in tante fotocamere della Bencini, l’obiettivo è costituito da una singola lente a menisco.

Prodotta solo negli anni ‘60 e nemmeno per tutto il decennio, la Cometa è infine, tra le fotocamere della Bencini, anche un po’ rara:
nel corso di diversi anni, rispetto a tanti modelli Bencini (Koroll, Comet ed altri ancora), in cui mi è capitato di imbattermi più volte volte, mi è capitato di incappare in una Cometa solo una volta (e me la sono portata a casa). Forse è una cometa con un periodo orbitale piuttosto lungo, come quella di Halley. Se mi apparirà un’altra volta nel corso della mia vita potrò stabilirlo e aggiornerò questa pagina, altrimenti provate a controllare i vecchi documenti settecenteschi, medievali, cinesi etc, che parlano di avvistamenti.

Oltre a quelle derivate dall’osservazione diretta, le notizie storiche sulla Bencini Cometa hanno come fonte queste belle pagine dedicate alla storia della Bencini.

Saturday, June 16, 2018

Tuesday, June 12, 2018

One month till 127 Day!

July 127 Day is only a month away! It takes place on Thursday, the 12th of July (that's 12/7 in European).

127 Film Photography will feature 127-format photographs made on July 12, 2018, in a special exhibition. You're invited to participate!

No fees, no competition, just a friendly virtual community joining together to make 127-format photos on  July 12, 2018.

To show your work,
  1. Take 127-format photographs on  July 12, 2018.
  2. Send one of your photographs from July 12 to 127 Film Photography. Please email one jpg file, 500 pixels wide, to 127filmformat ~at~ gmail.com, by September 12, 2018. (That's a month longer than previously - hopefully this gives everyone enough time to get their film developed and scanned).
  3. In the subject line of your email, type "July 2018 127 Day."
  4. In the body of the email, please include the copyright symbol, your name, the title of the photograph, location, camera and film types, and your website address (or other link to your work). In that order. Please follow this example (you don't have to use initials if you prefer to be known by your full name!):

    ©J. M. Golding, Tidal, northern California, USA, Yogi Bear 127 camera, Rerapan, http://www.jmgolding.com

All types of 127 film format are welcome, whether the film began its existence as 127, or you used 35 mm film in a 127 camera, or you respooled 46mm film, or you cut down 120 film to 127 size ... or maybe you have a technique that I don't know about yet - if so, please tell me so I can share it with others who love this format (with full credit to you, of course - or perhaps you'd like to write a short article for 127 Film Photography about it!). Photos made on 127 film in a different size camera are welcome too.

127 Film Photography will publish all photos received (as long as they are in 127 format and do not contain images of nudity, violence, or exploitation).

I look forward to seeing your 127 Day photos!

Saturday, June 9, 2018

Saturday, June 2, 2018

Here is the method I use to cut 120 film down for use in 127 cameras - by Luke Taylor


I am offering a 3D printed cutting device on eBay (blue and yellow thing in the pictures) but any method to cut the roll will work.  My first device was nothing more than a shallow hole cut into a block and a utility knife blade screwed to the block.  The device has a recess in the yellow part to contain the end of the roll while the blue arm that houses a razor blade is lowered into the film.  Here are step by step instructions on how to use it.

With great care, it is possible to do steps 1 through 6 in subdued light.


Step 1: If you want to use the film in a 4x4cm camera that shows the film’s frame numbers in a red window, pay close attention to the roll orientation in the picture. This will preserve the 4cm frame numbers.  (The backing paper on 120 film has frame numbers for both 4 cm and 6 cm images; we want to use the 4cm frame numbers for 127 format). If you do not plan to use the film in a 4x4 camera that has a red window then it does not matter which end of the roll is cut off.


Step 2:  This picture shows the film roll in the recess hole in the yellow side of the cutter.  It is important to keep pressure on the roll as it is rotated to keep it bottomed out in this hole.  This will ensure the cut is even and at the correct depth.  It is also important that the rotation of the film is such that the drag of the blade is “tightening” the rolled film on the spool.  The picture shows this direction with a red arrow. 


Step 3: Rotate the film with one hand and apply moderate pressure downward on the blue cutter arm with the other.  Continue until the blade has cut through all of the film and backing paper.  You will notice the drag of the blade will increase when it contacts the plastic spool.  Do not attempt to cut off the spool; only the film and backing paper are to be cut.


Step 4 & 5:  Unspool a length of the backing paper until the “Start” marking is seen.  Be careful not to unspool too much paper - that will expose the film to light.  I use a big metal binder clip (as seen in Picture 5) to hold the remaining film on the spool while I prepare to cut off the excess paper.  Fold the backing paper in half lengthwise and make a diagonal cut.  This technique will ensure a very symmetrical “V” in the paper.  Bottoming out this “V” in the 127-spool slot will perfectly center the paper in the spool.  I would not attempt to cut any shape by “eye” because it won’t be centered well and will cause difficulty when loading to 127 spool.  The length is not very critical.  We are just trying to remove the excess amount so the completed spool diameter will not be too big.


Step 6: You can get the paper started on the 127 spool and clip it as well to prepare it for the transfer steps.

The remaining steps must be done in a darkroom or changing bag.


Step 7 & 8: In complete darkness roll the backing paper tightly onto the 127 spool until you feel the tape on the start of the film.  Carefully peel the tape off and save it (I just stick it to the back of my other hand).*


Step 9:  Carefully tuck the film into the partially rolled backing paper and continue to roll the film and backing paper onto the 127 spool.


Step 10 & 11:  While transferring be sure to allow slack between the 120 and 127 spool for the film and backing paper.  Because the 120 and 127 spools are different diameters, a buildup of excess film will happen.  I have been successful with letting go of the 120 spool once the 127 has a decent amount of material on it.  It may also be necessary to “tighten” the film on the 127 spool as you go to ensure it is fully seated on the new, smaller diameter spool.


Step 12:  When you’ve rolled to the end of the film, tape the film to the backing paper using the tape we saved from the beginning (Step 8).  This is also the time to mark the backing paper to indicate where the film is starting.  I use little stickers for this.
I am hoping this article will encourage more people to shoot images for the next 127 Day. 




*Note about Lomography film: I have found the tape they use to be INSANELY sticky. This has caused a lot of frustration when transferring the tape, FYI. 
- Luke Taylor 

Sunday, May 27, 2018

The end of ReraPan

A fellow 127 enthusiast told me last week that ReraPan has been discontinued.

I was surprised. A couple of weeks ago I bought some at a local camera store, and no one said anything about it.

Sadly, it's true.


Even more ominous,



A web search on "Rerapan discontinued" led me eventually to an announcement of this on Freestyle's Facebook page on March 8 ... yes, I am not on Facebook. Freestyle said in the comments on that post, "this isn't the end of ReraPan. #SecretProject."

So for now, at least, our options will be:
  1. bulk HP5+ (you can order this once a year; the ordering window for this year just ended);
  2. expired 127; and
  3. cutting down 120 film - watch this space for a new method!
There's speculation that ReraPan may have been respooled Acros. This makes sense in light of the  discontinuation of Acros. And in my humble opinion, explains why ReraPan is so beautiful.

I'll miss it ... as I know many of you will. And I'll stay hopeful about the secret project.

Saturday, May 19, 2018

Friday, May 11, 2018

Saturday, April 28, 2018

Saturday, March 3, 2018

127 Day Online Exhibition - January 27, 2018

Welcome to 127 Film Photography's 127 Day online exhibition! The images below were created by a small but enthusiastic group of artists across three continents, all photographing in 127 format on January 27, 2018.


 ©2018 Mike Maguire, Richard on the Car; Washington, DC, USA; Detrola HW, ReraPan



©2018 A. P. Mackie, Roger; Victoria, BC, Canada; Yashica 44, ReraPan



©2018 Takgyver, untitled; Victoria BC Canada; Baby Rolleiflex 2.8 Tessar (old standard), home-slit Ilford HP5+



©2018 S. Kaufman, 3rd Avenue Steam Vent at Night; New York, NY, USA; Kodak Pupille, HP5+ 400 pushed to 1600



©2018  K. Inagaki, Snow shovels; Hokkaido, Japan; Baby
Rolleiflex, Rerapan



©2018 Terry Byrne, Survivors; Princeton New Jersey, USA; Topcon Primo Jr, Ilford HP5+




© 2018 Eben Ostby, Gone Burger; Oakland, CA, USA; Whitehouse Beacon II with flipped lens, 46mm Kodak Portra 400 
 



©2018 Chuck Baker, Kerkje van Persingen; Persingen, The Netherlands; Ilford Sprite, Efke R100, expired 12/14




©2018 Nicholas Middleton, Wildlife Refuge; London, UK; Zeiss Ikon Box Tengor 54/18 ('Baby Box Tengor'); Ilford HP5 Plus




© 2018 Mika Morizaki, Slumbering afternoon, Kanagawa, Japan;  Rolleiflex 4x4, Rerapan




© 2018 Fredrick Walker, Road to Paradise; Mount Rainier National Park, Washington, USA;  Zeiss Ikon Baby Ikonta, ReraPan.




© 2018  J. M. Golding, To hold this day; northern California, USA; Yogi Bear camera, ReraPan


Join us for the next 127 Day, coming up soon on the 12 of July, 2018! If you'd like to be reminded of 127 Day and the submission deadline, please use the "Follow 127 Film Photography by email" link to the right. You'll receive not only reminders, but also posts about all things 127. Or email your request to 127filmformat ~ at ~ gmail.com, and you'll be added to the 127 Film Photography email list.



Sunday, February 25, 2018

Tuesday, February 27 is the deadline to submit photos for the January 27 127 Day online exhibition

The day after tomorrow, Tuesday, February 27, is the deadline to submit your 127-format photo taken on January 27, 2018. Please remember to email one photo, as described here. Photos will be published in an online exhibition right here at 127 Film Photography.

©2018 J. M. Golding, An evening stroll; northern California; Kodak Brownie Fiesta, Ansco All-Weather Pan, expired March 1963; http://www.jmgolding.com
I'm looking forward to seeing your 127 Day photos!

Saturday, February 10, 2018

Saturday, February 3, 2018

Sad Hymns of the Sea by Jim Rohan

© Jim Rohan, Sad Hymns of the Sea; Churchie’s Fried Chicken Official Spy Camera, Kodak Verichrome Pan, expired 1963

Saturday, January 27, 2018

Happy 127 Day!

Happy 127 Day!

I hope you're having a wonderful time making 127-format photos today.

©J. M. Golding, In the rush toward morning; northern California, USA; Yogi Bear 127 plastic camera, Ilford HP5+, http://www.jmgolding.com

Friday, January 26, 2018

Tomorrow is 127 Day!

Tomorrow (Saturday, January 27) is 127 Day

127 Film Photography will feature 127-format photographs made on January 27, 2018, in a special exhibition. You're invited to participate!

No fees, no competition, just a friendly virtual community joining together to make 127-format photos on January 27, 2018.

To show your work,
  1. Take 127-format photographs on January 27, 2018.
  2. Send one of your photographs from January 27 to 127 Film Photography. Please email one jpg file, 500 pixels wide, to 127filmformat ~at~ gmail.com, by February 27, 2018. (Hopefully this gives everyone enough time to get their film developed and scanned). The target date for publication of the exhibition is March 3, 2018.
  3. In the subject line of your email, type "January 2018 127 Day."
  4. In the body of the email, please include the copyright symbol, your name, the title of the photograph, location, camera and film types, and your website address (or other link to your work). In that order. Please follow this example:

    ©J. M. Golding, Friday morning, 8:13 a.m.; northern California, USA; Yogi Bear 127 plastic camera, Ilford HP5+, http://www.jmgolding.com

 All types of 127 film format are welcome, whether the film began its existence as 127, or you used 35 mm film in a 127 camera, or you respooled 46mm film, or you cut down 120 film to 127 size ... or maybe you have a technique that I don't know about yet - if so, please tell me so I can share it with others who love this format (with full credit to you, of course - or perhaps you'd like to write a short article for 127 Film Photography about it!). Photos made on 127 film in a different size camera are welcome too.


127 Film Photography will publish all photos received (as long as they are in 127 format and do not contain images of nudity, violence, or exploitation).

I look forward to seeing your 127 Day photos!

Saturday, January 20, 2018

One week till January 127 Day!


January 127 Day is only a week away! It takes place on Saturday, January 27 (1/27).

127 Film Photography will feature 127-format photographs made on January 27, 2018, in a special exhibition. You're invited to participate!

No fees, no competition, just a friendly virtual community joining together to make 127-format photos on January 27, 2018.

To show your work,
  1. Take 127-format photographs on January 27, 2018.
  2. Send one of your photographs from January 27 to 127 Film Photography. Please email one jpg file, 500 pixels wide, to 127filmformat ~at~ gmail.com, by February 27, 2018. (Hopefully this gives everyone enough time to get their film developed and scanned). The target date for publication of the exhibition is March 3, 2018.
  3. In the subject line of your email, type "January 2018 127 Day."
  4. In the body of the email, please include the copyright symbol, your name, the title of the photograph, location, camera and film types, and your website address (or other link to your work). In that order. Please follow this example:

    ©J. M. Golding, untitled, northern California, USA, Yashica 44M, Ilford HP5+, http://www.jmgolding.com
All types of 127 film format are welcome, whether the film began its existence as 127, or you used 35 mm film in a 127 camera, or you respooled 46mm film, or you cut down 120 film to 127 size ... or maybe you have a technique that I don't know about yet - if so, please tell me so I can share it with others who love this format (with full credit to you, of course - or perhaps you'd like to write a short article for 127 Film Photography about it!). Photos made on 127 film in a different size camera are welcome too. 

127 Film Photography will publish all photos received (as long as they are in 127 format and do not contain images of nudity, violence, or exploitation).

I look forward to seeing your 127 Day photos!

Geeking Out on the Possible Origins of ReraPan



One of my favorite podcasts is Sunny 16. On last week’s episode, among other things, hosts Graeme and Rachel referred to a 127-format film that was made in a disused bicycle factory in Japan and was called something like Retropan. Of course I was intrigued!

I thought, that really sounds like ReraPan. As far as I know, ReraPan (a black and white negative film) is the only 127-format film currently being made* – that is, as you can buy it as rolls of film that are ready to pop into your camera and go (as compared to, say, bulk 46mm film). I knew it was from Japan, but I didn’t know much else. So I poked around the Interwebs to learn more. 

I knew (based on the film's labeling) that ReraPan is made by a company called Kawauso-shoten, so I started there. Of course, their website is almost entirely in Japanese, which I don't read, although it became clear to me that this was an online store devoted to analogue photography. I did find the page from which it's possible to buy ReraPan from them. They also sell a lot of other films. But despite using a lot of Google Translate, I didn't find anything about where ReraPan is manufactured. The "about this site" page describes Kawauso-shoten as part of EZOX Corporation, which (per Google Translate), "handles" products that include "photographic supplies, miscellaneous goods, bicycles and related products." Aha ... bicycles! Text on the page refers to a commitment to prevent analogue photography from becoming extinct and to enjoyment of what they term film culture.

There's a discussion on Photrio that includes some well-informed speculation about ReraPan's origins. One post offered a link to an APUG page that looked as if it could be informative, but the link was broken, and searches failed to turn it up on Photrio.

However, Wikipedia offered a partial answer. Now I realize that Wikipedia is not a definitive source of truth, and the article was clearly outdated, but it was interesting to read this: "In August 2014, Maco announced that they would be selling black-and-white 127 film under the ReraPan brand. This film is manufactured in Japan by EZOX Corporation, who are better known for manufacturing agricultural equipment and bicycles." Bicycles!

The possibility comes up in the Photrio discussion that EZOX may be assembling rolls of film made by another company. This is consistent with the labeling on the film cans, which says "assembled" in Japan, as well as the actual wording of the Wikipedia article, which says that Maco was selling ReraPan, not making it (and indeed, ReraPan is available on the Maco Direct website ... as are many other films). One person who posted noticed that the development instructions for ReraPan are the same as the instructions for Rollei RPX100. 

To further complicate things, a recent discussion on Photo Net suggests that Rollei's films, in turn, are made by Agfa Gevaert in Belgium. Wikipedia describes Maco as a "supplier" (although not manufacturer) of Agfa films, among other things, and goes on to say that most of Maco's films are sold under the Rollei label. Nik & Trick Photo Services describes Rollei 400S film as being made in Belgium by Agfa Gevaert. Their description of Rollei RPX100 (the film that's apparently most similar to ReraPan) doesn't include this text, but the page is shown as being in "Rollei," "Agfa," and "Maco" categories. I couldn't find any reference to Rollei, Agfa, Maco, or ReraPan films on Agfa's website (other than Aviphot aerial films). 

So ... ReraPan's origins aren't completely clear. But it seems reasonable to speculate that it might be something like rebranded Rollei RPX100, made in Belgium by Agfa Gevaert (in bulk) and assembled (as roll film) in Japan by EZOX  ... in a disused bicycle factory.

In any case, it's a very beautiful film, as you can see from these examples (as well as many in the 127 Day exhibitions on this very site), and a joy to use! I hope it stays in production for a very, very long time.


*Sadly, it appears that ReraChrome color transparency film is no longer being made.