That's fantastic. I have bulk 46mm film and I am trying to figure out how to make a machine, a tool really, to help spool 127. This at least helps me visualize what I am trying to do. Thanks.
I like your idea for the film slicer ,I'm going to make one myself. I was originally going to make a long ruler the same width as 127 and lay the film on a table in the darkroom. But this looks much better Excellent video. And thanks for the detailed measurments for 127 backing paper on your website. Very much appreciated.
I was just referred to this video by the new Facebook group Photo Film Slitters. I had the idea to use an old 120 camera and wanted to see if others had already worked out how to do it. Damn helpful video, thank you for sharing your experience! I can see using this to cut film for other sizes as well.
I have sketched out a method for reloading 35mm film onto 127 (or 120) spools. I have a couple hundred feet each of Agfa Copex Rapid and Agfa 400S in UNPERF to experiment with until Ilford again allows custom cut orders. In a 127 camera, 35mm wide film leaves about ¼ inch top and bottom of the frame unused, and about ¾ of the area of a full 127 frame. The negatives would be about 46mm wide and 35mm high in landscape. Perf’ed film could be used with shorter frames. Of course, 120 film could be slit to 46mm and the flap mechanism below could still be used effectively. Two spools are needed, as well as film cut to length and the backing paper. For attaching the takeup end of the film to the takeup end of the backing paper, I have tested taping a 1 to 1-1/2 inch piece of 46 mm wide backing paper to the 127 backup paper at the location where the takeup end of the film would normally be taped to the backup paper. This creates a flap. The beginning end of the film that would normally be taped to the backing paper slips under this flap; it need not be taped to the backing paper once slipped under this flap. The backing paper is wound tail end first onto a supply spool until the flap is exposed. The measured and cut length of film start end is inserted under this flap (at the point about 3/8 inch short of the original tape) and the film wound in takeup mode on another spool just as it would be wound into the camera. When the free (tail) end of the film is reached, it is tucked under the tail end of the backing paper and the film/backing paper combo is rewound onto the supply spool. When the start end of the film buckles up (due to the different length of the film and backing paper spirals) and reaches the flap, the beginning end of the film simply slips forward under the flap. The film is now ready to be used, properly spooled without the bump or buckle. As the film is initially fed into the camera, the flap prevents the film from catching on anything; the flap grips the film which simply follows along as it is wound into the camera. This is a heck of a lot simpler to do than to describe it. Terry
Hi, thanks for this video I am going to try it...quick question of which I sorta posted on one of your other videos regarded the Japan finish or the leather type finish applied to a Kodak Vest Pocket Camera. Mine as some slight coming away of the leather from the metal. What kind of adhesive would you use to reglue the leather to the metal? Thanks for all your videos...really helpful.
Hi Jake, I don't know what you mean by "Japan finish". I don't remember mentioning it anywhere in my videos or posts. Maybe you saw it in another channel ou site. In regards to applying leather to metal in the case of camera bodies, people recommend contact cement. The only problem is that once you joined the pieces it is not possible to reposition the leather. I used it already, it gives a clean finish because the excess is easily removed. One thing that helps is protecting the major part of the area to be glued with something that will not adhere, vinyl adhesive backing paper, for instance. Then you lay down just the edge of one or another side of the leathe over the camera body. Once you are sure that the position is OK only then you slide the backing paper out and join the two parts. Hope this helps.
A useful video, thank you. I also very much enjoyed your video on the LED light source for your enlarger. I would like to build something similar! I hope you will upload more videos in the future. Tom
Sim, é preciso fazer o processo em um local com escuridão total, sempre que o filme estiver sendo manuseado. Depois que fez o rolinho, aí pode acender a luz.
Thanks very much. Very useful.
That's fantastic. I have bulk 46mm film and I am trying to figure out how to make a machine, a tool really, to help spool 127. This at least helps me visualize what I am trying to do. Thanks.
I like your idea for the film slicer ,I'm going to make one myself.
I was originally going to make a long ruler the same width as 127 and lay the film on a table in the darkroom. But this looks much better
Excellent video.
And thanks for the detailed measurments for 127 backing paper on your website. Very much appreciated.
I was just referred to this video by the new Facebook group Photo Film Slitters. I had the idea to use an old 120 camera and wanted to see if others had already worked out how to do it. Damn helpful video, thank you for sharing your experience! I can see using this to cut film for other sizes as well.
Thanks for a very useful video !!!
Great video and very useful.
Thanks.
I have sketched out a method for reloading 35mm film onto 127 (or 120)
spools. I have a couple hundred feet each of Agfa Copex Rapid and
Agfa 400S in UNPERF to experiment with until Ilford again allows
custom cut orders. In a 127 camera, 35mm wide film leaves about ¼
inch top and bottom of the frame unused, and about ¾ of the area of a
full 127 frame. The negatives would be about 46mm wide and 35mm high
in landscape. Perf’ed film could be used with shorter frames. Of
course, 120 film could be slit to 46mm and the flap mechanism below
could still be used effectively.
Two spools are needed, as well as film cut to length and the backing paper.
For attaching the takeup end of the film to the takeup end of the
backing paper, I have tested taping a 1 to 1-1/2 inch piece of 46 mm
wide backing paper to the 127 backup paper at the location where the
takeup end of the film would normally be taped to the backup paper.
This creates a flap. The beginning end of the film that would normally be
taped to the backing paper slips under this flap; it need not be taped to
the backing paper once slipped under this flap.
The backing paper is wound tail end first onto a supply spool until
the flap is exposed. The measured and cut length of film start end is
inserted under this flap (at the point about 3/8 inch short of the
original tape) and the film wound in takeup mode on another spool just
as it would be wound into the camera. When the free (tail) end of the
film is reached, it is tucked under the tail end of the backing paper
and the film/backing paper combo is rewound onto the supply spool.
When the start end of the film buckles up (due to the different length
of the film and backing paper spirals) and reaches the flap, the
beginning end of the film simply slips forward under the flap. The
film is now ready to be used, properly spooled without the bump or
buckle.
As the film is initially fed into the camera, the flap prevents the
film from catching on anything; the flap grips the film which simply
follows along as it is wound into the camera.
This is a heck of a lot simpler to do than to describe it.
Terry
Hi, thanks for this video I am going to try it...quick question of which I sorta posted on one of your other videos regarded the Japan finish or the leather type finish applied to a Kodak Vest Pocket Camera. Mine as some slight coming away of the leather from the metal. What kind of adhesive would you use to reglue the leather to the metal? Thanks for all your videos...really helpful.
Hi Jake, I don't know what you mean by "Japan finish". I don't remember mentioning it anywhere in my videos or posts. Maybe you saw it in another channel ou site. In regards to applying leather to metal in the case of camera bodies, people recommend contact cement. The only problem is that once you joined the pieces it is not possible to reposition the leather. I used it already, it gives a clean finish because the excess is easily removed. One thing that helps is protecting the major part of the area to be glued with something that will not adhere, vinyl adhesive backing paper, for instance. Then you lay down just the edge of one or another side of the leathe over the camera body. Once you are sure that the position is OK only then you slide the backing paper out and join the two parts. Hope this helps.
A useful video, thank you. I also very much enjoyed your video on the LED light source for your enlarger. I would like to build something similar!
I hope you will upload more videos in the future.
Tom
Isso tudo requer uma câmara que escura?
Sim, é preciso fazer o processo em um local com escuridão total, sempre que o filme estiver sendo manuseado. Depois que fez o rolinho, aí pode acender a luz.
Sound sucks.