126 Day June 2021

Kodak Instamatic 277X with Ilford FP4

By a quirk of Kodak's practice of re-using its obsolete format codes when designating the new easy-load drop-in plastic cartridge, calendrically, 126 Day follows on immediately from 116 Day in June. I'd picked up a 126 cartridge of Ilford FP4, with a develop before date of February 1974, which I shot on the day; I hadn't reloaded any cartridges with 35mm film as I had done on previous years, so had just 12 exposures in the FP4 cartridge. Having used quite a fair bit of FP4 film from the 1970s, I was fairly confident that I'd be able to get acceptable results from the film, and, as with the Verichrome Pan on the previous day, I didn't bracket any of the exposures.

Ilford FP4 126 cartridge

For the camera, I used the Kodak Instamatic 277X that I've used previously, for the fact that it's got a wider range of adjustable apertures than most Instamatics. With only weather symbols to indicate the aperture settings, using the five-decades-old film, I compensated by generally choosing a setting two symbols wider (or darker) than the conditions indicated: for example, with a subject in bright sun, I set the aperture to the 'light cloud' pictogram, which worked well enough apart from a few frames in relatively deep shadow. In terms of subjects, with more time than the 116 Day before it, I simply followed a cycle route around my local area, one of the loops I'd found for my allowed exercise during the first lockdown last year, and indeed, this was some of the same route I'd taken on 116 Day in 2020.

Developing the film, I used the standard time and temperature for modern FP4 Plus, 15 minutes in Ars-Imago #9 diluted 1+50 at 20ºC with normal agitation. I had intended to re-use the plastic cartridge (in part due to the late 1960s/early 70s 'sunburst' Ilford symbol on the label), but even after repeated scoring with a knife, this proved too difficult to take apart cleanly, and it broke in the changing bag while attempting to do this. The spool and attached 126 backing paper were salvaged in the process however: when re-used with 35mm the backing paper can end up getting somewhat ragged after a few rolls. As an aside, on the leaflet which came in the box with the film, there are instructions for home processing, with a pair of illustrations on how to break open the cartridge (figures 1-3 on the first side of the leaflet show loading, advancing the film, and unloading).

Scanning the negatives, it was clear that the emulsion had reacted to the backing paper–this showed up nicely in the rebate at the lower edge of the film where the shape of the long hole with its rounded ends is imprinted into the film (this doesn't match up with the single perforation for each frame as it's where the emulsion has been in contact with the back of the backing paper while rolled together). This reaction has caused a certain amount of mottling across the film, but, with enough exposure, in some frames it's hardly visible and only really shows in larger areas of smooth tones, such as the sky. The pre-exposed 126 frames also vary: on denser negatives, these begin to disappear; on thinner negatives, or with larger areas of shadow, these frames are much clearer. I chose not to crop the scans of the film, instead showing the whole width of the film, pre-exposed frames, perforations, rebate and frame numbers, and the overlapping edges of each exposure: the frame below shows all of these, the mottling and the backing paper hole too.

Last year, I'd shot a cartridge of 126 Verichrome Pan, and had used a yellow filter for the entire roll; many of the shots this year would have benefitted from the same, as the conditions were sunny and a number of frames had areas of sky with some light fair weather clouds; potentially a yellow filter might also have lightened the tones in some of the foliage, something I didn't consider until part of the way into the film, having left home without thinking I might need a filter. The other error I made was in not ensuring that the flap of the plastic every-ready case was always entirely clear of the lens, having it intrude into the bottom part of the image in a couple of frames.

Comparing these frames with those on Verichrome Pan from last year also brought up something which seems like a oddity in the manufacture of these 126 films: the pre-exposed frame lines do not appear to be a single exposure all around the nearly-square image, but an operation performed in (at least) two steps. The exposures for the horizontal and vertical frame lines clearly overlap; the horizontal lines at the top and bottom edges of the frames look continuous for the whole length of the film, while the vertical frame lines extend from the top edge of the film but do not entirely meet the lower edge of the bottom horizontal frame line, stopping a little short. I did reflect that possibly the exposure of the vertical frame lines could have been linked to a stepping motion at the same time as the exposure of the frame numbers, with an ascending counter linked to the position of the perforation hole. This is relatively easy to discern in the image below, one of the frames that has a lot of shadow areas around the edges. Last year's cartridge of Verichrome Pan shows the same overlapping pre-exposed horizontal and vertical lines. 

Overall, the FP4 came out reasonably well considering its age, some frames did need more exposure, and some carelessness on my part notwithstanding with the camera case, as well as overlooking using a filter. Thirty-odd years ago, had I dropped the cartridge into Boots for processing (as I did when first photographing with a handed-down Instamatic) I'd no doubt have received my twelve square prints with a sprinkling of advice stickers on them.

126 Day June 2020

Kodak Instamatic 277X with Kodak Verichrome Pan

Two days ago, on the 12th, I shot some film with a Kodak Instamatic 277X to mark June's '126 Day'. Unlike 127 Day, or some of the other calendrical photography days, I'm not aware that anyone really observes a 126 Day. Reasons for this doubtless include the fact that no new 126 format film has been produced for years, although rumours of its resurrection do occasionally surface. I would not have predicted that the 110 format would reappear after the major manufacturers stopped production, so 126 film's re-emergence is not an impossibility; new 127 format rollfilm did disappear for a time, but is now more available, and the demand must in part be due to the fact that there were a number of well-designed cameras produced for the format, particularly during the popularity of the 4x4 twin lens reflex in 1950s. There were a small handful of relatively higher-specification 126 cameras, but most were simple point-and-shoot models, plastic equivalents of the box cameras of a generation before. I shot with the Instamatic 277X on 126 Day, as, although basic, it does have a relatively wide range of aperture settings and it is also better at handling perforated 35mm film loaded into original 126 cartridges than other 126 cameras I've used. I shot a couple of cartridges loaded with Ilford FP4 on the day, and wasn't quite as careful as I might have been in advancing the film, with the result of several overlapping exposures.

Kodak Instamatic 277X with Ilford FP4 Plus

Kodak Instamatic 277X with Ilford FP4 Plus

In developing the film, conversely, I was too cautious. Using Ilfotec LC29 which had been mixed from stock at a dilution of 1+9 three months earlier, I extended developing time by another minute on top of the extra time, factored for pushing it one stop, as I wasn't sure how well the developer was going to work, as the developer was looking quite discoloured. The resulting negatives were quite dense as a result, and should clearly have been developed as if rated at box speed for the correct time. As a result the midtones to highlights were compressed, and meant careful scanning was needed to recover as much range as possible, as well as some digital dodging and burning to help separate tones.

Kodak Instamatic 277X with Ilford FP4 Plus

Kodak Instamatic 277X with Ilford FP4 Plus

Kodak Instamatic 277X with Ilford FP4 Plus

Kodak Instamatic 277X with Ilford FP4 Plus

In addition to the cartridges loaded with 35mm FP4 Plus, I also shot a cartridge of Kodak Verichrome Pan. I (nominally) rated this at box speed, originally 125 ISO: with the Kodak Instamatic 277X, this meant simply following the pictograms for the lighting conditions. The cartridge had a develop before date of 06/1986; often with film this old, I would increase exposure to compensate for the loss of sensitivity due to age, but my previous experiences with Verichrome Pan suggested that I could risk not doing this with thirty-odd year old film. It might have been wise to bracket the exposures, but with only 12 frames in the cartridge, I didn't do this. I also shot the film with a yellow filter (as I had done with the FP4 Plus), which I might not have adequately accounted for in exposure; however, I stand developed the Verichrome Pan, which is generally very forgiving in terms of variations in exposure, and, although the resulting negatives had a moderate level of base fog due to age, the results were pretty good for a 34-year-old black and white film.

Kodak Instamatic 277X with Kodak Verichrome Pan

Kodak Instamatic 277X with Kodak Verichrome Pan

Kodak Instamatic 277X with Kodak Verichrome Pan

Kodak Instamatic 277X with Kodak Verichrome Pan

Kodak Instamatic 277X with Kodak Verichrome Pan

116 & 126 Days June 2019

Kodak Instamatic 277X with Ilford Pan 400

Using the little-endian calendar in the UK provides two successive obsolete film format days in June: the 11th and 12th for 116 and 126 formats respectively. The regular 127 Days in summer and winter are relatively well established, in part due to 127 film still being available (if only just), whereas shooting film for both 116 and 126 formats does mean either sourcing long discontinued film or taking different strategies for using new film in the cameras.

For Tuesday's 116 Day, I shot a single roll of medium format Ilford XP2 Super, rolled with 116 backing paper, with the Agfa Standard Model 255. I developed this with RO9 rather than C41, and had problems with overexposure (and perhaps overdevelopment), partly due to shooting into the light, late in the afternoon, despite the presence of cloud cover; scanning the negatives and attempting to retain any detail from the sky had the tendency to compress the mid-tones and shadows rather too much. The first image revisited one photograph from 2017's 116 Day, documenting the progression of demolition. Three of the six shots from the roll I felt worth salvaging.

Agfa Standard with Ilford XP2 Super

Agfa Standard with Ilford XP2 Super

Agfa Standard with Ilford XP2 Super

The following day I loaded a single 126 cartridge with Ilford Pan 400, and shot it with the same Kodak Instamatic 277X I'd used last year - and the main reason for using it was for its adjustable aperture: with a 400 speed film, this meant using a relatively small aperture for most shots (the camera's shutter speed is fixed at 1/80th), ensuring that the photographs were relatively sharp. After using the camera last year and having had many frames overlapping, I made sure that the film was fully wound on to the next frame, judging from the numbers on the backing paper, even if this meant taking fewer shots on the roll of film.

Kodak Instamatic 277X with Ilford Pan 400

Kodak Instamatic 277X with Ilford Pan 400

Kodak Instamatic 277X with Ilford Pan 400

Kodak Instamatic 277X with Ilford Pan 400

Kodak Instamatic 277X

Kodak Instamatic 277X

126 Day June 2018

For yesterday's 126 Day, I shot a roll of film with the same camera I had used five years ago for the first '126 Day' I marked then - and one reason for choosing the Instamatic 277X was its adjustable apertures. Five years ago, this was due to using very old transparency film, and wanting to give it as much exposure as possible; for yesterday's film I had essentially the opposite problem. I'd earmarked a cartridge of thirty-year old Kodak Verichrome Pan that I wanted to shoot on the day, and the weather recently has been bright and sunny. However, I was overcast in the morning, so used a 126 cartridge I had reloaded with 35mm Kentmere 400; with a relatively slow shutter speed of 1/80th, having an adjustable aperture guarded against overexposure with a fast film (as did the weather conditions).

I wasn't able to subsequently shoot the Verichrome Pan on the day; using 35mm film in a 126 cartridge is not without its considerations, which I didn't attend to fully. The camera appeared to be generally advancing the film correctly, going by the numbers on the backing paper, but on development, most, but not all, of the frames had overlapped in pairs with gaps between. I scanned the juxtaposed pairs of overlapping images rather than cropping to each frame. In future, with reloaded 35mm, it would be safer to shoot one blank frame after each photograph to ensure that each frame doesn't overlap with the next.

126 Day 2016

126 cartridge reloaded with Agfaphoto APX 400

Observing 126 Day yesterday, the opportunities for shooting between showers and rain were limited. I used the Kodak Instamatic 25 camera which was still loaded with a cartridge containing APX 400 from last year. Given that the light was generally poor, the 400 speed film was ideal for the conditions at the time.

126 cartridge reloaded with Agfaphoto APX 400

126 cartridge reloaded with Agfaphoto APX 400

126 cartridge reloaded with APX 400

A second cartridge loaded with Foma Retropan 320 was less successful. The Instamatic 25 has generally proved to be quite good at handling 35mm film reloaded into 126 cartridges - I had greater difficulty with the 300 model last year in Stockholm - but after reusing the backing paper in some of the cartridges a number of times, some of the rolls are beginning to deteriorate. The thin strip of paper along the outside edge of the long perforation holes has torn in places, and it may be this, in part, that caused extra resistance when attempting to advance the film. As can be seen from the results below, the overlapping frames are indicative of these problems, and the light leaks are due to taking the cartridge out of the camera mid-roll in order to advance a few frames by hand when it became too stiff to do so in the camera itself. Nevertheless, the design of the cartridge does ensure some protection for the exposed part of the film in this event.

126 cartridge reloaded with Retropan 320

126 cartridge reloaded with Retropan 320

126 Day 2015

Agfaphoto APX 400 126 cartridge reload

Having recently shot a reloaded 126 cartridge with the Kodak Instamatic 300 that I had found in the Hötorget flea market in Stockholm, I had found the 300 to be fairly unsympathetic to being used with 35mm film; results last year with a different model camera, an Instamatic 25, were much better, which I wrote about my post 'My first camera'. It was difficult to advance the reloaded film in the 300 model, resulting in overlapping frames and torn sprocket holes from the pin designed to locate the single perforation on 126 film. The Instamatic 25 is kinder on 35mm film: the negatives show stress on some of the perforations, and some scratching, but none of the tearing that the Instamatic 300 had, and film advancement was easier.

Last Friday, 12th June, the Kodak Instamatic 25 was the camera I chose to shoot for a '126 Day', not a camera or film format related day I usually observe, though I did shoot a roll of expired Perutz transparency film with an Instamatic camera two years ago. In the post 'My First Camera', I detailed how I reloaded the plastic 126 cartridge with 35mm film; last Friday I shot a cartridge reloaded with Agfaphoto APX 400 and one with Ilford Mark V. The Instamatic 25 has a single aperture, f11 and two shutter speeds, full sun at 1/90th, or half-sun/flash, 1/40th. Although a 400 ISO film might be too fast not to be overexposed for sunny conditions in the camera, the latitude of the film meant that the exposures, both interiors and exteriors came out well.

Agfaphoto APX 400 126 cartridge reload

Agfaphoto APX 400 126 cartridge reload

Agfaphoto APX 400 126 cartridge reload

As well as a cartridge with Agfaphoto APX 400, I also used some Ilford Mark V Motion Picture film, as I had done last year. Originally 250-500 ISO, after forty years this film has lost quite a bit of sensitivity and I shot this during the evening while the light was going, so the results were not as good. It also seemed to have a greater tendency for overlapping frames, possibly due to having different perforations to standard 35mm still camera film. Occasionally, the overlapping multiple exposures were worth scanning as a whole composition.

Ilford Mark V 126 cartridge reload

Ilford Mark V 126 cartridge reload