Ava in Motion by Jon Marmor

©Jon Marmor, Ava in Motion; Baby Brownie Special, ReraPan

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 

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.

Castle Rock by Luke Taylor

©Luke Taylor, Castle Rock; Ferrania Rondine, ReraPan 100

Retrieving Quarters by Shawn Augustson

©2018 Shawn Augustson, Retrieving Quarters; Columbus, OH, USA; Sawyer's Mark IV; Kodak Verichrome Pan (expired 03/70)

Reststop_Val_Neva by Luke Taylor

©Luke Taylor; Reststop_Val_Neva; Yashica44; Lomography 100, 120 cut down

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.