Do you change film mid roll?

[BernardL]

Rewind noise sounds different when the camera reaches the leader. I just open the back when the motor changes gear and I get the film out.

No cigar. With a manual wind camera, I open the back in the dark, cut the film at the N+1 frame and pull out the exposed part from the take-up spool. In the dark of course. Now, what with a P&S or other motorized camera that won't let its motor clutch slip so you can't pull out the exposed part?

Gotta say though, every single time I do that I am hit with a "what if', just a split second before I open the back.

Interesting idea, but no need to sweat. Just open the back in the dark, and feel if the leader is free. If not, close back; camera winds a little film, press the little rewind button, and make a second attempt. Nothing lost.

 

[Andrew Sowerby]

It's not losing the frame that keeps me from switching film mid-roll. I shoot Tri-X 95% of the time (35mm and 120). Always exposed at 400 so no need to switch. In the summer I shoot 120 E6. Can't change that mid-roll and it's only 12 exposures anyway!

 

[Hans Berkhout]

Mid roll: transport 2 frames past last shot, for the 3d frame set shutterspeed dial on Z or T, remove lens, depress shutter, stick piece of scotchtape on now visible film. Transport film again and shutter will close, reattach lens, rewind film till it releases from take up spool. In darkroom pull film and feel for scotchtape, that‘s where you cut.
If you use B setting keep shutterbutton depressed until scotchtape in place.
Try first with junk piece. I hope I don’t have T and B mixed up, don’t have camera handy nearby.
I have used this approach with Leica ltm and bayonet mounts, no experience with other camersas.

 

[Bob Michaels]

I was once very adept at changing 35mm film mid-roll back decades ago. But my priorities changed and I became focused on the visual message of my images, not the tools I used to capture them. I concluded my photos were better if I eliminated film choices so I could focus on content. I work on projects or series and learned to determine up front is they should be color or b&w. Decision eliminated. Then, I focused on one color and one b&w film and learned how to use them. My color choice was always Fujichrome Astia. I learned what you could do with it. My b&w choice was always either Fuji Neopan 400, Tri-X, or HP-5+. They all worked the same for me and I bought 50-100 rolls at a time depending on price. I realized developing could not be a variable because I would sometime shoot dim flat lighting indoors them step outside in bright direct sun for subsequent frames on the same roll. I realized you had to learn what that film would do and use that knowledge to determine exposure. So I eliminated any need to change film mid roll.

Here are two frames, not shot same place, but using same film (HP-5 as I remember) and exact same development (HC-110 Dil H 10 minutes) . Both challenging lighting and not determined by an exposure meter but by knowing how much overexposure and underexposure the film could capture. Then image created in post processing. It is all about knowing how to use your tools, not how many you have. So no need to change film.

 

[Hans Berkhout]

The reason for me to change mid roll: to test a different from my usual film/developer combo, situations where I only need to see a few exposed frames. Doesn’t happen very often.

 

[James Evidon]

For medium format, 120, I change film by swapping film backs (Hasselblad, Mamiya RB67) - that’s the beauty of the system. Not only color vs B&W, but different backs for low, normal, and high contrast (for Zone system aficionados).

I never change 35mm mid-roll. If I need to, I’ll just bring another camera with differe film. Also, even on vacation, I never bring more than two cameras or two types of film.

I have Exaktas, so one day I’ll use the film knife.

I am considering an RB or RZ67 Mamiya to add to my collection of users and shelf queens. I would also get a motorized 220 back which is 6x8 format. With that 6x8 back will I get a 6cm x 8cm image on film, or will it crop down to 6cm x 7cm due to the body having only a 6x7 back
opening? Or, is the rear body opening larger than 6x7?

 

[nickthetasmaniac]

I have, but very occasionally. I think the last time I did it, I was travelling in Asia and was half way through a roll of Ektar. I was planning to shoot night markets that evening and swapped it out for a pushed roll of HP5+.

 

[Godfrey]

35mm and Minox 8x11: I did this once upon a time in the distant past. It's easier with the Minox. Not in thirty years at least...

With the Hassleblad 500CM, the question is of course trivial... I frequently swap film backs between 6x6, 6x4.5, B&W, Color, fast and slow film, and digital. Thats what the interchangeable back system design is designed to permit, easily.

G

 

[Godfrey]

I am considering an RB or RZ67 Mamiya to add to my collection of users and shelf queens. I would also get a motorized 220 back which is 6x8 format. With that 6x8 back will I get a 6cm x 8cm image on film, or will it crop down to 6cm x 7cm due to the body having only a 6x7 back
opening? Or, is the rear body opening larger than 6x7?



View attachment 4818061

The question is "where can you get 220 film these days?" Far as I've been aware, 220 roll film has been out of production for 15 years or more. I'm sure old stocks exist, but it seems foolish to spend the money on a film back for a film that is no longer produced.

G

 

[Mackinaw]

The question is "where can you get 220 film these days?" Far as I've been aware, 220 roll film has been out of production for 15 years or more. I'm sure old stocks exist, but it seems foolish to spend the money on a film back for a film that is no longer produced.

G

Last year, I bought several rolls of Shanghai GP3 220 B&W film from some site on eBay. Fresh stuff too (January 2024 expiration date). Not sure if Shanghai is still making it.

Jim B.

 

[James Evidon]

The question is "where can you get 220 film these days?" Far as I've been aware, 220 roll film has been out of production for 15 years or more. I'm sure old stocks exist, but it seems foolish to spend the money on a film back for a film that is no longer produced.

G

Because the 220 back also accepts 120 film and with a 35mm casette conversion kit it will produce very wide 35mm panoramas and on the 220 setting it will do about 15-16 of them on a 120 roll. At today's film prices that is a big savings. BTW, I have several 220 rolls in my freezer just waiting to be used. Cheers!

 

[nikon_sam]

I admit I have done so in the past but not so much anymore, it can get confusing without proper notation.
I did pull a half shot roll out the other day because I needed to see if some HC-110 was indeed too old and the reason for under developed images.
Opened the camera in the dark and cut the film from the cassette then pulled the film directly from the take-up spool.
Developed in some fresh HC-110 and it turned out great...

 

[JoseP]

I was once very adept at changing 35mm film mid-roll back decades ago. But my priorities changed and I became focused on the visual message of my images, not the tools I used to capture them. I concluded my photos were better if I eliminated film choices so I could focus on content. I work on projects or series and learned to determine up front is they should be color or b&w. Decision eliminated. Then, I focused on one color and one b&w film and learned how to use them. My color choice was always Fujichrome Astia. I learned what you could do with it. My b&w choice was always either Fuji Neopan 400, Tri-X, or HP-5+. They all worked the same for me and I bought 50-100 rolls at a time depending on price. I realized developing could not be a variable because I would sometime shoot dim flat lighting indoors them step outside in bright direct sun for subsequent frames on the same roll. I realized you had to learn what that film would do and use that knowledge to determine exposure. So I eliminated any need to change film mid roll.

Here are two frames, not shot same place, but using same film (HP-5 as I remember) and exact same development (HC-110 Dil H 10 minutes) . Both challenging lighting and not determined by an exposure meter but by knowing how much overexposure and underexposure the film could capture. Then image created in post processing. It is all about knowing how to use your tools, not how many you have. So no need to change film.

View attachment 4817291

View attachment 4817290

Both awesome photos! And I'm with you 100%. There's ultimate freedom if you eliminate variables/choices and learn to work within those limitations. I'm also grateful that, I can shoot as slow as a half second with no blur... most the time

This one was shot at 1/8 f4 with a Canon IID2 and Canon 35mm. I also push HP5 a couple stops
I just posted this in another thread, but same roll..

 

[Godfrey]

Because the 220 back also accepts 120 film and with a 35mm casette conversion kit it will produce very wide 35mm panoramas and on the 220 setting it will do about 15-16 of them on a 120 roll. At today's film prices that is a big savings. BTW, I have several 220 rolls in my freezer just waiting to be used. Cheers!

That's great! When I was looking for another back for my Hassy, the A24 backs are all over the place, pretty cheap, but without a good supply of fresh film available, I decided they weren't worth spending money on. I've got two 12 exposure backs now and one 6x4.5 16 exposure back, which is all I need.

The use of 35mm film in a medium format back is a little clumsy with the Hasselblad because the film travels vertically rather than horizontally, and the camera fitted with a WL finder is pretty awkward to roll onto its side for shooting.

But you're giving me an idea ... My Perkeo II runs film horizontally and I think I still have a 35mm adapter kit floating around here...

G

 

[James Evidon]

That's great! When I was looking for another back for my Hassy, the A24 backs are all over the place, pretty cheap, but without a good supply of fresh film available, I decided they weren't worth spending money on. I've got two 12 exposure backs now and one 6x4.5 16 exposure back, which is all I need.

The use of 35mm film in a medium format back is a little clumsy with the Hasselblad because the film travels vertically rather than horizontally, and the camera fitted with a WL finder is pretty awkward to roll onto its side for shooting.

But you're giving me an idea ... My Perkeo II runs film horizontally and I think I still have a 35mm adapter kit floating around here...

G

I am only doing it because I want to be able to shoot panoramas on occasion. I tried the Noblex 135 and I had a Widelux 7, but both have too much distorion close up and unless the camera is perfectly horizontal in both planes, the image is badly curved. Furthermore, the Hassy X-Pan is too bl--dy expensive whereas a complete RB67 with a couple of back with a 50mm lens and a 70mm or 90mm is still under $100 and I'll put up with the substantial weight. Hmm, I wonder how much it costs to rent a Sherpa these days?

 

[Doug]

I am considering an RB or RZ67 Mamiya to add to my collection of users and shelf queens. I would also get a motorized 220 back which is 6x8 format. With that 6x8 back will I get a 6cm x 8cm image on film, or will it crop down to 6cm x 7cm due to the body having only a 6x7 back
opening? Or, is the rear body opening larger than 6x7?

Hi-- For the Mamiya, the "6x8" back's image dimensions are 56mm x 76mm