16mm Film – Double Perf vs Single Perf – What’s the difference??

![image](https://filmphotographyproject.com/wp-content/uploads/2021/02/FilmO_70_Gamera_770x_-600x422.jpg" width=)

One of the FPP 's most common inquiries regarding 16mm movie film, is “What’s the difference between single perforated (single perf) and double perforated (double perf) film, and which do I need?” An important question no doubt, because while one of these works for all cameras, the other does not!

Like all movie film, 16mm film features perforations–the little holes that are punched on the side of the film that the camera uses to advance it through the mechanism. Unlike Super 8, for example, which only has perfs on one side of the film, 16mm comes in both options. Why?

16mm Double and Single Perf Film - What and Why?

Before the advent of optical and magnetic sound (a way of recording sound on 16mm film by either gluing magnetic tape or recording an optical soundtrack on one side of the film), almost all 16mm film had perfs on both sides of the film frame. Inside most older 16mm cameras, you’ll find that many have film rollers with two sets of teeth, often paired with a double ‘claw’ located under the film gate. ( Example below - Keystone A7 16mm camera only accepts Double Perf 16mm film) Both of these components fit into two rows of perfs on the film itself to help advance it through the camera and keep the image steady.

When optical and magnetic 16mm sound film was introduced, some 16mm movie cameras (especially those geared towards the professional market) eliminated the double-row film rollers and claws to accommodate 16mm film that was only perforated on one side. Later on, some cameras even had their film gates modified in order to capture an even larger frame on the film, since there was only one set of perfs. This is called Super16.

Are 16mm Double Perf and Single Perf films interchangeable?

This really depends on the camera itself. If the camera was designed for use with single perf 16mm film (in other words, it only has one set of teeth on the film roller and one claw or pin on the film gate), then the camera can use both single and double perf 16mm film. Below: Single Perf film shot in the Arriflex SR1 camera /FPP Sonic 12 BW Reversal Film.

If the camera was designed to use double perf 16mm film, it cannot use single perf film, because the camera has two sets of teeth on the roller inside (and often two sets of claw teeth on the pull-down under the film gate). If you try to use single perf film, the film will not properly sit on the roller and the film gate, causing jamming or damage to the film. Most older cameras, such as those made by Keystone, Bell & Howell, and Kodak, were designed only for use with double perforated film.

To summarize :

If the camera was designed for use with double perf film (two sets of teeth in the film compartment), then you can only use double perf 16mm film.

If the camera designed for use with single perf film, then you can use either double or single perf 16mm film.

Where can I get double perf 16mm film? The FPP sells a wide range of double perforated 16mm movie film, including color negative, color reversal, black and white negative, and black & white reversal (as well as offering developing / scanning services).

The post 16mm Film - Double Perf vs Single Perf - What's the difference?? appeared first on The Film Photography Project.

#howtowhatis #16mmdoubleperffilm #16mmfilm #16mmsingleperffilm

FPP’s “NEW” Color Negative Home Development Kit!

![image](https://filmphotographyproject.com/wp-content/uploads/2021/02/FPPnewKIT_770x430_-600x335.jpg" width=)

On February 23, 2021 the FPP added a new photo chemistry kit to its arsenal of DIY film development kits!

FPP COLOR NEGATIVE DEVELOPMENT KIT (For C-41 and ECN2 Color Negative Film)

Thekit can be ordered HERE. It contains the photo chemistry to develop color negatives and a detailed instruction sheet to walk you through the process. You will need (not included) the basic darkroom tools - tank, reel, beaker, etc. - to develop your color film as well as following the basic protocol of film developing (load film into your tank in darkness, etc.) More details on STUFF you need in our blog - What stuff do I need to develop film at home?!

This new kit contains DEVELOPER - BLEACH - FIXER - How To Use It?

DEVELOPER - It's best to mix the chemicals in the order in which they are numbered. Distilled water is recommended.

• Heat around 800ml of distilled or filtered water to around 106F.
• Add Developer chemicals one by one (#1 to #5) while stirring.
• Dissolve each before moving onto the next.
• Stir until fully dissolved.
• Add additional water until you get a full liter.

For BLEACH and FIXER - Do the same as above.

DEVELOPING – Developer temp is very important. Many folks use an Immersion Circulator (Sous Vide Style Heater) to bring their water up to temperature.

Bring Developer, Bleach, Fixer and Water Wash to 106F

Pre-Wash your film (optional but recommended)

Developer - 3:00mins @ 106F (Pour back your developer for re-use)

Water Stop bath - 60secs @ 80 to 103F – Rinse & wash 3x

Bleach - 3:00mins @ 103F +/- (Pour back your bleach for re-use)

Rinse & wash 3x

Fixer - 5:00mins @ 103F +/- (Pour back your fixer for re-use)

Rinse & wash 3x

Hang till dry

Typical agitation (every 30 sec or so). This developer kit is re-usable. When finished developing your rolls, pour each (developer, bleach, fixer) back into the container. (Make sure you do not cross-contaminate. Keep your DEVELOPER away from your BLEACH and FIXER). You can develop 20 rolls of 35mm film with each kit. Kit should keep for well over a month if you squeeze out excess air and tightly cap each bottle. FPP 1-Liter Containers are recommended as you can easily squeeze out excess air. Store away from sunlight.

Note that Kodak Vision3 ECN2 motion picture film contains a black carbon REM JET layer. This layer can be removed in your last wash. (After your Fixer rinse your film in a half bucket of hot water (80 - 102 degrees F). With your thumb, gently rub the non-emulsion side of your film as you remove it from your film reel. Careful not to scratch the emulsion of your film. You will see the black rem jet in your water as you rinse.) Rem Jet particles that contaminate your developer may not look pretty – but will not affect the developer. Many folks have other Rem Jet removal methods – consult The Google.

That's it! It's a slight variation to our previously offered kit. You might have noticed that there is no STABILIZER step. Fact is, stabilizer is not needed for any modern day films. Comments? Shoot an email to the pod! [email protected]

The post FPP's "NEW" Color Negative Home Development Kit! appeared first on The Film Photography Project.

#howtowhatis #developfilmathome #fppc41kit #fppecn2kit #homedeveloping

16mm Magazine Film Now!

Last year, the FPP quietly revived an unusual movie film format with a number of quirks:Magazine 16. Since then, we’ve heard from a number of FPP movie film shooters who are thrilled to start shooting on fresh 16mm film in 50 ft magazine format! Intrigued? We hope so, here’s some background on this unique format: __

What is Magazine 16?

Magazine 16 is a movie film format released by Kodak around 1935. The concept is fairly simple: 50 feet of double perforated 16mm film is loaded into a light-tight metal magazine which pops (or slides) into the camera and then shot–think of it as a sort of 16mm version of a Super 8 cartridge.

Originally, the price of the magazine included a small deposit when purchased. When the customer finished shooting the magazine, they returned it to their photo retailer who would send it off to Kodak for processing. The small deposit on the magazine was credited towards the cost of processing. Once at the lab, the film inside the magazine was removed and processed–the magazine was sent back to Kodak for cleaning and reloading. It was then repackaged and sent back out to the world to be sold again.

What’s the history of the format?

The format was released in conjunction with a new camera, the Magazine Ciné-Kodak. The February 1936 issue of Ciné-Kodak News features an extensive article about the camera’s features. According to some additional information I found, some of the earliest Magazine 16 cameras made by Kodak was produced by Kodak AG in Germany.

The format enjoyed popularity in the 1940s and was used extensively during the Second World War for aerial and combat filming.

With the introduction of Regular 8mm film and then eventually 8mm Magazines (a similar format to Magazine 16 which the FPP also sells), Magazine 16 began to lose popularity with consumers due to the cost, the limitations of the format (the magazines are loaded with 50 feet of film), and size and weight of the cameras and projection equipment. When Kodak released Super 8 in the 1960s, Magazine 16 was almost completely irrelevant among most movie film consumers.

I was unable to confirm exactly when Kodak discontinued Magazine 16 – the company’s last Magazine 16 camera was the wonderful Cine-Kodak Royal which was manufactured until 1967. The film itself may have been offered by Kodak into the early 1980s, as the format still had commercial applications, especially in the automotive industry for filming in-car crash tests.

How Does Magazine 16 Work?

The Kodak magazines are loaded with double perforated 16mm film – this is a must due to the magazine’s design. Although there have been some attempts to modify the magazines to accept single perforated film, our tests mostly failed. They perform best with double perf film.

The film is wound inside the magazine on a core and then threaded through the mechanism. The magazine is light-tight because the film loaded inside has no daylight spool. If a shooter were to remove the cover of the magazine outside of a darkroom, the film would be completely ruined.

The magazine has a unique shutter-type mechanism which is moved out of the way of the film gate when the magazine is loaded into the camera. This allows the shooter to be able to remove the magazine from the camera without exposing a single frame of the film.

Unlike other movie film formats, Magazine 16 has an active film counter built within it that allows the user to see, in real-time, how much film has been shot.

Can I Reload My Own Magazines

Although Magazine 16 was never intended to allow consumers to be able to reload the magazines at home, they certainly can. Load and unloading must be done in complete darkness and the magazines have to be precisely threaded to work properly. Due to the complexity of the reloading process, most consumers elected (and still do) to simply purchase the magazines preloaded.

What Cameras Take Magazine 16?

Although Kodak introduced the format, a variety of camera manufacturers produced cameras that use the magazines.

Notable models include the Cine-Kodak Royal (pictured above), the Bell & Howell 200, the Revere 16 Magazine, and the Wollensak 91, just to name a few. There was also a line of Soviet 16mm magazine cameras based on the famous Bell & Howell 200 body.

Where Can I Buy Fresh Film? How Does it Work?

The FPP! We offer a variety of options in film types you can purchase on the FPP’s website.

Due to the nature of the format (and especially because we need the magazines back so we can reload them with fresh film to offer to the next customer!), all of our 16mm magazines are offered as a process and scan package only. Once you have finished shooting your magazine, simply return it to the FPP where it will be processed, scanned, and the film returned to you. The magazine is then reloaded with fresh film and put back into the store for resale. Think of it as a film library of sorts.

What Else Do I Need to Know?

One of the most important things to know about shooting Magazine 16 in today’s world, is that it does pose some risk. Due to the age of the magazines, the FPP can’t guarantee performance. While we do our best to inspect and test each magazine, there can be failure in the field. Like all of the movie film we sell, there are no refunds offered in the event of a failure.

Keep in Mind

Cost is certainly a factor with this format – 16mm film is already more expensive than say Regular 8mm. Additionally, the magazines need to be loaded and unloaded by hand which adds additional cost.

For some shooters, another con is the fact that the magazines only contain 50 feet of film–many 16mm shooters are used to shooting 100-foot loads on spools.

Finally, as mentioned above, the magazines are usually 50+ years old and can sometimes jam during use.

What Are The Benefits of the Format?

Perhaps the most useful benefit of the format is easy loading. Just like Super 8, the magazine is simply inserted into the camera and you’re ready to shoot! The magazine also has 2 additional features that make it unique: it has a built-in shutter-type mechanism that opens when it is inserted into the camera and automatically closes when the magazine is removed. This means if you decide to shoot some of the film in one camera and decide to shoot the rest in another, you won’t lose a single frame during unloading and reloading.

Secondly, the magazine has a built-in footage counter which means you always know exactly how much film is remaining, regardless if you remove the magazine from the camera. This is something you don’t get on Super 8 or 8mm magazines.

For the home processor, the fact that the magazines contain 50-foot loads makes for easier processing on a Lomo UB-1 tank since those reels can only fit 50 feet of 16mm film at a time.

The Film Photography Project is dedicated to keeping home movie film alive! Please help support the cause and **purchase your movie film, developing and scans from our FPP Movie Film Dept **at our On-Line Store!

Owen McCafferty is a native Clevelander who has been shooting analog movie and still film since the age of 12 in 2002. When he’s not out shooting, he works in product development and innovation for a firm in Cleveland.

The post 16mm Magazine Film Now! appeared first on The Film Photography Project.

#howtowhatis #videos #16mmmagazinefilm #magazine16

16mm Film – Double Perf vs Single Perf – What’s the difference??

One of the FPP 's most common inquiries regarding 16mm movie film, is “What’s the difference between single perforated (single perf) and double perforated (double perf) film, and which do I need?” An important question no doubt, because while one of these works for all cameras, the other does not!

Like all movie film, 16mm film features perforations–the little holes that are punched on the side of the film that the camera uses to advance it through the mechanism. Unlike Super 8, for example, which only has perfs on one side of the film, 16mm comes in both options. Why?

16mm Double and Single Perf Film - What and Why?

Before the advent of optical and magnetic sound (a way of recording sound on 16mm film by either gluing magnetic tape or recording an optical soundtrack on one side of the film), almost all 16mm film had perfs on both sides of the film frame. Inside most older 16mm cameras, you’ll find that many have film rollers with two sets of teeth, often paired with a double ‘claw’ located under the film gate. ( Example below - Keystone A7 16mm camera only accepts Double Perf 16mm film) Both of these components fit into two rows of perfs on the film itself to help advance it through the camera and keep the image steady.

When optical and magnetic 16mm sound film was introduced, some 16mm movie cameras (especially those geared towards the professional market) eliminated the double-row film rollers and claws to accommodate 16mm film that was only perforated on one side. Later on, some cameras even had their film gates modified in order to capture an even larger frame on the film, since there was only one set of perfs. This is called Super16.

Are 16mm Double Perf and Single Perf films interchangeable?

This really depends on the camera itself. If the camera was designed for use with single perf 16mm film (in other words, it only has one set of teeth on the film roller and one claw or pin on the film gate), then the camera can use both single and double perf 16mm film. Below: Single Perf film shot in the Arriflex SR1 camera /FPP Sonic 12 BW Reversal Film.

If the camera was designed to use double perf 16mm film, it cannot use single perf film, because the camera has two sets of teeth on the roller inside (and often two sets of claw teeth on the pull-down under the film gate). If you try to use single perf film, the film will not properly sit on the roller and the film gate, causing jamming or damage to the film. Most older cameras, such as those made by Keystone, Bell & Howell, and Kodak, were designed only for use with double perforated film.

To summarize :

If the camera was designed for use with double perf film (two sets of teeth in the film compartment), then you can only use double perf 16mm film.

If the camera designed for use with single perf film, then you can use either double or single perf 16mm film.

Where can I get double perf 16mm film? The FPP sells a wide range of double perforated 16mm movie film, including color negative, color reversal, black and white negative, and black & white reversal (as well as offering developing / scanning services).

The post 16mm Film - Double Perf vs Single Perf - What's the difference?? appeared first on The Film Photography Project.

#howtowhatis #16mmdoubleperffilm #16mmfilm #16mmsingleperffilm

FPP’s “NEW” Color Negative Home Development Kit!

On February 23, 2021 the FPP added a new photo chemistry kit to its arsenal of DIY film development kits!

FPP COLOR NEGATIVE DEVELOPMENT KIT (For C-41 and ECN2 Color Negative Film)

Thekit can be ordered HERE. It contains the photo chemistry to develop color negatives and a detailed instruction sheet to walk you through the process. You will need (not included) the basic darkroom tools - tank, reel, beaker, etc. - to develop your color film as well as following the basic protocol of film developing (load film into your tank in darkness, etc.) More details on STUFF you need in our blog - What stuff do I need to develop film at home?!

This new kit contains DEVELOPER - BLEACH - FIXER - How To Use It?

DEVELOPER - It's best to mix the chemicals in the order in which they are numbered. Distilled water is recommended.

• Heat around 800ml of distilled or filtered water to around 106F.
• Add Developer chemicals one by one (#1 to #5) while stirring.
• Dissolve each before moving onto the next.
• Stir until fully dissolved.
• Add additional water until you get a full liter.

For BLEACH and FIXER - Do the same as above.

DEVELOPING – Developer temp is very important. Many folks use an Immersion Circulator (Sous Vide Style Heater) to bring their water up to temperature.

Bring Developer, Bleach, Fixer and Water Wash to 106F

Pre-Wash your film (optional but recommended)

Developer - 3:00mins @ 106F (Pour back your developer for re-use)

Water Stop bath - 60secs @ 80 to 103F – Rinse & wash 3x

Bleach - 3:00mins @ 103F +/- (Pour back your bleach for re-use)

Rinse & wash 3x

Fixer - 5:00mins @ 103F +/- (Pour back your fixer for re-use)

Rinse & wash 3x

Hang till dry

Typical agitation (every 30 sec or so). This developer kit is re-usable. When finished developing your rolls, pour each (developer, bleach, fixer) back into the container. (Make sure you do not cross-contaminate. Keep your DEVELOPER away from your BLEACH and FIXER). You can develop 20 rolls of 35mm film with each kit. Kit should keep for well over a month if you squeeze out excess air and tightly cap each bottle. FPP 1-Liter Containers are recommended as you can easily squeeze out excess air. Store away from sunlight.

Note that Kodak Vision3 ECN2 motion picture film contains a black carbon REM JET layer. This layer can be removed in your last wash. (After your Fixer rinse your film in a half bucket of hot water (80 - 102 degrees F). With your thumb, gently rub the non-emulsion side of your film as you remove it from your film reel. Careful not to scratch the emulsion of your film. You will see the black rem jet in your water as you rinse.) Rem Jet particles that contaminate your developer may not look pretty – but will not affect the developer. Many folks have other Rem Jet removal methods – consult The Google.

That's it! It's a slight variation to our previously offered kit. You might have noticed that there is no STABILIZER step. Fact is, stabilizer is not needed for any modern day films. Comments? Shoot an email to the pod! [email protected]

The post FPP's "NEW" Color Negative Home Development Kit! appeared first on The Film Photography Project.

#howtowhatis #developfilmathome #fppc41kit #fppecn2kit #homedeveloping

16mm Magazine Film Now!

Last year, the FPP quietly revived an unusual movie film format with a number of quirks:Magazine 16. Since then, we’ve heard from a number of FPP movie film shooters who are thrilled to start shooting on fresh 16mm film in 50 ft magazine format! Intrigued? We hope so, here’s some background on this unique format: __

What is Magazine 16?

Magazine 16 is a movie film format released by Kodak around 1935. The concept is fairly simple: 50 feet of double perforated 16mm film is loaded into a light-tight metal magazine which pops (or slides) into the camera and then shot–think of it as a sort of 16mm version of a Super 8 cartridge.

Originally, the price of the magazine included a small deposit when purchased. When the customer finished shooting the magazine, they returned it to their photo retailer who would send it off to Kodak for processing. The small deposit on the magazine was credited towards the cost of processing. Once at the lab, the film inside the magazine was removed and processed–the magazine was sent back to Kodak for cleaning and reloading. It was then repackaged and sent back out to the world to be sold again.

What’s the history of the format?

The format was released in conjunction with a new camera, the Magazine Ciné-Kodak. The February 1936 issue of Ciné-Kodak News features an extensive article about the camera’s features. According to some additional information I found, some of the earliest Magazine 16 cameras made by Kodak was produced by Kodak AG in Germany.

The format enjoyed popularity in the 1940s and was used extensively during the Second World War for aerial and combat filming.

With the introduction of Regular 8mm film and then eventually 8mm Magazines (a similar format to Magazine 16 which the FPP also sells), Magazine 16 began to lose popularity with consumers due to the cost, the limitations of the format (the magazines are loaded with 50 feet of film), and size and weight of the cameras and projection equipment. When Kodak released Super 8 in the 1960s, Magazine 16 was almost completely irrelevant among most movie film consumers.

I was unable to confirm exactly when Kodak discontinued Magazine 16 – the company’s last Magazine 16 camera was the wonderful Cine-Kodak Royal which was manufactured until 1967. The film itself may have been offered by Kodak into the early 1980s, as the format still had commercial applications, especially in the automotive industry for filming in-car crash tests.

How Does Magazine 16 Work?

The Kodak magazines are loaded with double perforated 16mm film – this is a must due to the magazine’s design. Although there have been some attempts to modify the magazines to accept single perforated film, our tests mostly failed. They perform best with double perf film.

The film is wound inside the magazine on a core and then threaded through the mechanism. The magazine is light-tight because the film loaded inside has no daylight spool. If a shooter were to remove the cover of the magazine outside of a darkroom, the film would be completely ruined.

The magazine has a unique shutter-type mechanism which is moved out of the way of the film gate when the magazine is loaded into the camera. This allows the shooter to be able to remove the magazine from the camera without exposing a single frame of the film.

Unlike other movie film formats, Magazine 16 has an active film counter built within it that allows the user to see, in real-time, how much film has been shot.

Can I Reload My Own Magazines

Although Magazine 16 was never intended to allow consumers to be able to reload the magazines at home, they certainly can. Load and unloading must be done in complete darkness and the magazines have to be precisely threaded to work properly. Due to the complexity of the reloading process, most consumers elected (and still do) to simply purchase the magazines preloaded.

What Cameras Take Magazine 16?

Although Kodak introduced the format, a variety of camera manufacturers produced cameras that use the magazines.

Notable models include the Cine-Kodak Royal (pictured above), the Bell & Howell 200, the Revere 16 Magazine, and the Wollensak 91, just to name a few. There was also a line of Soviet 16mm magazine cameras based on the famous Bell & Howell 200 body.

Where Can I Buy Fresh Film? How Does it Work?

The FPP! We offer a variety of options in film types you can purchase on the FPP’s website.

Due to the nature of the format (and especially because we need the magazines back so we can reload them with fresh film to offer to the next customer!), all of our 16mm magazines are offered as a process and scan package only. Once you have finished shooting your magazine, simply return it to the FPP where it will be processed, scanned, and the film returned to you. The magazine is then reloaded with fresh film and put back into the store for resale. Think of it as a film library of sorts.

What Else Do I Need to Know?

One of the most important things to know about shooting Magazine 16 in today’s world, is that it does pose some risk. Due to the age of the magazines, the FPP can’t guarantee performance. While we do our best to inspect and test each magazine, there can be failure in the field. Like all of the movie film we sell, there are no refunds offered in the event of a failure.

Keep in Mind

Cost is certainly a factor with this format – 16mm film is already more expensive than say Regular 8mm. Additionally, the magazines need to be loaded and unloaded by hand which adds additional cost.

For some shooters, another con is the fact that the magazines only contain 50 feet of film–many 16mm shooters are used to shooting 100-foot loads on spools.

Finally, as mentioned above, the magazines are usually 50+ years old and can sometimes jam during use.

What Are The Benefits of the Format?

Perhaps the most useful benefit of the format is easy loading. Just like Super 8, the magazine is simply inserted into the camera and you’re ready to shoot! The magazine also has 2 additional features that make it unique: it has a built-in shutter-type mechanism that opens when it is inserted into the camera and automatically closes when the magazine is removed. This means if you decide to shoot some of the film in one camera and decide to shoot the rest in another, you won’t lose a single frame during unloading and reloading.

Secondly, the magazine has a built-in footage counter which means you always know exactly how much film is remaining, regardless if you remove the magazine from the camera. This is something you don’t get on Super 8 or 8mm magazines.

For the home processor, the fact that the magazines contain 50-foot loads makes for easier processing on a Lomo UB-1 tank since those reels can only fit 50 feet of 16mm film at a time.

The Film Photography Project is dedicated to keeping home movie film alive! Please help support the cause and **purchase your movie film, developing and scans from our FPP Movie Film Dept **at our On-Line Store!

Owen McCafferty is a native Clevelander who has been shooting analog movie and still film since the age of 12 in 2002. When he’s not out shooting, he works in product development and innovation for a firm in Cleveland.

The post 16mm Magazine Film Now! appeared first on The Film Photography Project.

#howtowhatis #videos #16mmmagazinefilm #magazine16

16mm Film – Double Perf vs Single Perf – What’s the difference??

One of the FPP 's most common inquiries regarding 16mm movie film, is “What’s the difference between single perforated (single perf) and double perforated (double perf) film, and which do I need?” An important question no doubt, because while one of these works for all cameras, the other does not!

Like all movie film, 16mm film features perforations–the little holes that are punched on the side of the film that the camera uses to advance it through the mechanism. Unlike Super 8, for example, which only has perfs on one side of the film, 16mm comes in both options. Why?

16mm Double and Single Perf Film - What and Why?

Before the advent of optical and magnetic sound (a way of recording sound on 16mm film by either gluing magnetic tape or recording an optical soundtrack on one side of the film), almost all 16mm film had perfs on both sides of the film frame. Inside most older 16mm cameras, you’ll find that many have film rollers with two sets of teeth, often paired with a double ‘claw’ located under the film gate. ( Example below - Keystone A7 16mm camera only accepts Double Perf 16mm film) Both of these components fit into two rows of perfs on the film itself to help advance it through the camera and keep the image steady.

When optical and magnetic 16mm sound film was introduced, some 16mm movie cameras (especially those geared towards the professional market) eliminated the double-row film rollers and claws to accommodate 16mm film that was only perforated on one side. Later on, some cameras even had their film gates modified in order to capture an even larger frame on the film, since there was only one set of perfs. This is called Super16.

Are 16mm Double Perf and Single Perf films interchangeable?

This really depends on the camera itself. If the camera was designed for use with single perf 16mm film (in other words, it only has one set of teeth on the film roller and one claw or pin on the film gate), then the camera can use both single and double perf 16mm film. Below: Single Perf film shot in the Arriflex SR1 camera /FPP Sonic 12 BW Reversal Film.

If the camera was designed to use double perf 16mm film, it cannot use single perf film, because the camera has two sets of teeth on the roller inside (and often two sets of claw teeth on the pull-down under the film gate). If you try to use single perf film, the film will not properly sit on the roller and the film gate, causing jamming or damage to the film. Most older cameras, such as those made by Keystone, Bell & Howell, and Kodak, were designed only for use with double perforated film.

To summarize :

If the camera was designed for use with double perf film (two sets of teeth in the film compartment), then you can only use double perf 16mm film.

If the camera designed for use with single perf film, then you can use either double or single perf 16mm film.

Where can I get double perf 16mm film? The FPP sells a wide range of double perforated 16mm movie film, including color negative, color reversal, black and white negative, and black & white reversal (as well as offering developing / scanning services).

The post 16mm Film - Double Perf vs Single Perf - What's the difference?? appeared first on The Film Photography Project.

#howtowhatis #16mmdoubleperffilm #16mmfilm #16mmsingleperffilm

FPP’s “NEW” Color Negative Home Development Kit!

On February 23, 2021 the FPP added a new photo chemistry kit to its arsenal of DIY film development kits!

FPP COLOR NEGATIVE DEVELOPMENT KIT (For C-41 and ECN2 Color Negative Film)

Thekit can be ordered HERE. It contains the photo chemistry to develop color negatives and a detailed instruction sheet to walk you through the process. You will need (not included) the basic darkroom tools - tank, reel, beaker, etc. - to develop your color film as well as following the basic protocol of film developing (load film into your tank in darkness, etc.) More details on STUFF you need in our blog - What stuff do I need to develop film at home?!

This new kit contains DEVELOPER - BLEACH - FIXER - How To Use It?

DEVELOPER - It's best to mix the chemicals in the order in which they are numbered. Distilled water is recommended.

• Heat around 800ml of distilled or filtered water to around 106F.
• Add Developer chemicals one by one (#1 to #5) while stirring.
• Dissolve each before moving onto the next.
• Stir until fully dissolved.
• Add additional water until you get a full liter.

For BLEACH and FIXER - Do the same as above.

DEVELOPING – Developer temp is very important. Many folks use an Immersion Circulator (Sous Vide Style Heater) to bring their water up to temperature.

Bring Developer, Bleach, Fixer and Water Wash to 106F

Pre-Wash your film (optional but recommended)

Developer - 3:00mins @ 106F (Pour back your developer for re-use)

Water Stop bath - 60secs @ 80 to 103F – Rinse & wash 3x

Bleach - 3:00mins @ 103F +/- (Pour back your bleach for re-use)

Rinse & wash 3x

Fixer - 5:00mins @ 103F +/- (Pour back your fixer for re-use)

Rinse & wash 3x

Hang till dry

Typical agitation (every 30 sec or so). This developer kit is re-usable. When finished developing your rolls, pour each (developer, bleach, fixer) back into the container. (Make sure you do not cross-contaminate. Keep your DEVELOPER away from your BLEACH and FIXER). You can develop 20 rolls of 35mm film with each kit. Kit should keep for well over a month if you squeeze out excess air and tightly cap each bottle. FPP 1-Liter Containers are recommended as you can easily squeeze out excess air. Store away from sunlight.

Note that Kodak Vision3 ECN2 motion picture film contains a black carbon REM JET layer. This layer can be removed in your last wash. (After your Fixer rinse your film in a half bucket of hot water (80 - 102 degrees F). With your thumb, gently rub the non-emulsion side of your film as you remove it from your film reel. Careful not to scratch the emulsion of your film. You will see the black rem jet in your water as you rinse.) Rem Jet particles that contaminate your developer may not look pretty – but will not affect the developer. Many folks have other Rem Jet removal methods – consult The Google.

That's it! It's a slight variation to our previously offered kit. You might have noticed that there is no STABILIZER step. Fact is, stabilizer is not needed for any modern day films. Comments? Shoot an email to the pod! [email protected]

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Guide to Black and White Film Developers

The FPP Guide to Black & White Developers

One of the most rewarding things about film photography is developing your own film. You save time, money and developing your own film opens a whole world of creativity once you start mastering and understand the different types of black and white developers that are available. Not to mention the supreme satisfaction of pulling your developed negatives out of your tank!

You’ve heard the photo chemistry names – D76, HC-110, Xtol, D96 – all made by Kodak – and these are the types you’re going to hear (or read about) in the blog below. You may have also heard such names as Microdol-X, Ilfotec DDX – those are simply Ilford products based on the original Kodak formulas. If you’re an Ilford user, consult the handy Kodak-To-Ilford Conversion Chart.

Whether you’ve been “souping” your film for year or just thinkin’ about getting started, the FPP Guide to BW Developers is a page that you’ll want to earmark as a resource.

In the audio below, Leslie Lazenby and Mat Marrash discuss the most common BW developers, what their strengths are and why you should consider them. Many of these developers are available right in our FPP on-line store.

What Chemistry To Home Process BW Film?

One of the most asked about and talked about subjects here at The Film Photography Project is BW Home Developing and what chemistry to use. We devoted a large segment on the subject on Film Photography Podcast. Below is the list of some terrific bw developers. Almost all of them are available right here at the FPP on-line store (at the best prices too!)

DOWNLOAD AUDIO (Right Click, Save As)

above: Kodak Tri-X processed in Leslie's favorite Xtol!

Kodak Xtol - First and foremost is Kodak's Xtol, it's my go-to, it is suitable for nearly all b/w films. It gives me true box speed, fine grain and high sharpness. Xtol is a solvent developer, it produces fine grain by allowing silver to redistribute during development. This solvent action slightly reduces resolving power, the ability to discern 2 separate objects rather than a blur of the two. For a less solvent action make a working solution with Xtol 1:1 rather than undiluted stock. One of the advantages of this developer is it mixes with room temp water. It comes as a two part powder and not having to mix it at 125 degree allows me to use it sooner after mixing. When Michael Raso gets a new hand-rolled film in that doesn't have developing times I start with box speeds and Xtol. The disadvantage of Xtol may be more for the casual user than me, it's smallest unit makes 5 liters as packaged and sold in the US. This is not a developer to overuse or keep on the shelf a long time, it dies quickly without warning and it's an ugly death. I keep track of the rolls I've ran and the date I mixed it, it really is the best way to keep from having any failures. I am not one to find a false economy in extending chemistry, keeping track keeps my processing constant. This eliminates a variable when shooting different films or with different untested cameras.

above: Olympus OM-2n. 35-70 Zuiko Zoom / Film: FPP BW 400 (Orwo n74) shot at ISO 400. Developed in FPP D96.

**FPP D96 - Powder to make 1 Gallon) - **The Film Photography Project brings you FPP D96 BW negative developer powder in handy packages that makes 1 Gallon of developer when mixed with water. Long considered the go-to BW developer for the motion picture industry, D96 is a highly adaptable lower contrast film developer that enables you to increase the contrast by increasing your developing time or agitation. We’ve tested this developer with cinema films like FPP Sonic25, FPP X2 (Eastman Double-X), FPP Blue Sensitive BW, ORWO Cinema Film and FPP LOW ISO BW and standard BW photography films like Kodak Tri-X, T-Max, Ilford FP4 and HP5 films to stunning results.

• Powder Makes 1 Gallon of Developer
• Long Shelf Life
• Develop up to 50+ rolls
• Average development time 7-8.5 minutes

This developer has a very long life, when you mix the gallon, you can store it on a one gallon jug OR store it in 4 one quart bottles. If you store in 4 separate 1 quart bottles, as you use it and the contrast begins to lower, start a second fresh bottle, and save the first one for extremely contrasty lighting or films. We recommend using it as a stock developer, use it without diluting and pour it back into your quart container for re-use.

What about diluting and using FPP D96 as “one-shot”? - You can also dilute it 1:1, but make sure you use fresh, unused stock for this and do not reuse this combination, it is one-shot. This developer will begin to lose contrast with use rather than completely exhaust.

The package makes 1 gallon of developer, which is about a 50% savings over buying it by the litre and if you store it in 4 one quart bottles it’s like getting 3 developers in 1, stock for re-use, stock for dilution for one-shot and a lower contrast bottle of used stock for hard lighting and high contrast films!

We are testing with many films but have found a lot to fall within 7 to 8.5 minutes. Massive Developing chart has a D96 developer option as well. Many report getting at least 50+ rolls from this quantity.

above: FPP edu 200 processed in Rodinal.

Rodinal - One of my specialty developers is Rodinal, in terms of actual usage is perhaps one of the most versatile developers made. It is virtually indestructible, it can survive for years in a half used bottle and still be good. While it can be used in a range of dilutions, the one I use the most is the 1:100 or 1+100 dilution. This dilution is usually used with very long developing times like 1 hour, commonly referred to as stand developing. When the times are this long and the developer is so diluted it is almost impossible to screw up your film processing. 6 minutes compared to 60 has advantages. If you accidently add or subtract a minute from that 6 minutes it makes a big difference in the overall success of your negatives, but a few minutes when your film is in the soup for an hour is no big deal. Rodinal is dependable and cheap due to the high dilutions you can use. If you do not have developing times available just soup those negatives in Rodinal, 1:100, 68 degrees, stand development for 1 hour and success will be at hand. Not many developers have been around as long as this, it has been available for over 100 years. It kind of fell out of grace when miniature films, 35mm, came into greatness, it is a bit grainer and when you are enlarging 35mm rather than 120 or 4×5 you'll noticed the grain structure. But, it has a found it place in our modern times and is still a worthy and viable product. Rodinal comes as a liquid and normally is mixed into a one shot working solution rather than a stock solution.

above: Kodak HIE Infrared Film in HC-110

HC-110 - The next bottle of developer on my shelf is another old standby, Kodak's HC-110. It comes supplied as a thick liquid syrup. Even though you can mix it to a stock solution further dilution is needed before using. Most find it easier to just mix it for a one shot working dilution right before use. A nice advantage when you use these liquid supplied developers is it is so easy to quickly get to your proper processing temperature. HC-110's selling points are ease of use, versatility, and reliability. The concentrate keeps for years; (4 to 5 years air tight) Buy a bottle and fill with marbles as you use it or pour some into smaller bottles and cap then use out of only one until it's gone. All types of black-and-white film can be developed with HC-110, and results are consistent. Once again Kodak made the following comparison to their own D-76, they indicate that HC-110 (dilution B) produces, slightly less shadow detail or true film speed, slightly finer grain and slightly lower acutance. Apparently, HC-110 has somewhat more solvent action than D-76, but less than Xtol. Opinions differ about the effect of HC-110 on grain, some report coarser grain than with D-76 and others report finer grain. In reality this is probably a function of dilution and agitation rather than the nature of the developer. Where HC-110 really shines for me is with old outdated films, it gives surprisingly little base fog even with very prolonged development. Old films have their fair share of age fog and HC-110 gives me a better chance of a useable negative. Like Rodinal, HC-110 keeps very well and gives very reproducible results. It is a good choice when failure would be costly.

above: FPP edu 200 film shot at 500 iso! Processed in Diafine.

Diafine - A classic specialty developer I have used from my days in a retail darkroom is Diafine. It's been around a long time and still comes in cans rather than envelopes or packets. It comes in two parts, and mixes up as a part A and a part B. If you buy a quart or gallon unit you will need two containers respectively, they are not mixed together in fact if you ever contaminate B into A, throw it out. Once mixed it lasts lasts at least a year. It is really an amazing developer to use and incredibly easy, so many rules of standard developing do not apply to Diafine. It has a fixed developing time without regard of temperature or film used. I as most, do not even bother taking it's temperature. Time and temperature really have no effect on the out come of your negatives. There is one developing time with a reasonable ambient temperature of 75 to 85. Fast, medium and slow films can all be developed in the same tank, and contrast is not amplified by this
developer. It gives the greatest effective speed of films developed meaning this developer is used for push processing. It is very fine grain considering the push and has high resolution. I also use this for older films that have lost speed due to age just to get them back their box speeds. Diafine is simple to use but you must follow the directions. Here they are:

• 1. Do Not pre-wet.
• 2. Develop in Part A for a minumm of 3 minutes but it is ok if it goes over, rap for air bells, gentle agitation is suggested, I use the rod to agitate not my usual inversion method. Drain Part A back into your original container.
• 3. Do Not rinse
• 4. Pour in Part B the same time for A at least 3 minutes. Here again it is very important to have very gentle agitation. Pour Part B into your original container.
• 5. Drain and rinse for 30 seconds NO stop bath. Fix, wash, hypo clear, wash, and Photo Flo if you use it.

Just a example of the speeds recommended are Kodak Tri-X and FPP400edu @1600, Panatomic-X @ 160, FP4 @ 320 and I am currently using ISO 1.5 Svema Blue @ iso 6, I think it will do 8 or even 10. This is a fantastic field developer when conditions like temperature control are difficult and a must in my book for pushing film.

above: Svema MZ3 processed in TD3.

TD3 - The last developer on my shelf is TD 3. It is a liquid concentrate and is mixed to make a working solution, and is perfect for slow, contrasty films. I use it with Technical Pan and with the microfilms sold by FPP. Now that Technidol is no longer made it was good to find this and have it for remaining stock as well as having much greater success with the microfilms.

Image by Michael Raso / Kodak Kodalith Ortho Film 6556 at an asa of 12Canon EOS Rebel G / Processed Kodak D76 (Stock Solution) 6 min at 68 degrees.

Kodak D76 - Ok so why does the industry and everyone else compare their product to Kodak D76? If a small camera store only carries a few developers why is one of them D76? Years ago before the Massive Developing Chart, why were even the most obscure films giving only developing times in D76? It is and has been an industry standard due to its proven reliability for many years and you do not get there without proving yourself again and again.

This classic developer is what a lot of us learned on. Today it is still used by most schools with a film program. It works great with any film type, any brand, just look up your time up and process your film for dependable results. This developer is durable, many abuse past the suggested roll count without issue. It is easy to replenish and for schools with students plowing through many rolls a week this stuff just keeps turning out normal negatives.

Unlike Xtol, D76 has a slow decline due to exhaustion, you will notice your negatives getting a little flatter, less contrast which will continue with each roll, unlike xtol which dies a total death quickly and with no warning. Even on it's way out you will still have very usable negatives. There may be other developers which give slightly sharper negatives or a bit finer grain but the reliability, final look and tonality is just why people still use it. You have to love a developer that can handle pulling or pushing film speeds with ease like this developer. I love the fact that this developer is offered in a 1 litre size as well as a 1 gallon size. If you are an occasional developer you will love the smaller size. Most use this developer as a stock developer, measure it out, use it and pour it back for reuse, but can also use it as a one shot mixing stock solution further with water in equal parts for a working solution. Diluting smooths the grain a bit.

D76 was first introduced in 1926 as a movie stock developer and when Tri-X 35mm came onto the scene in mid 1950s it was match made in heaven. When it comes to D76 the old saying of "If it ain't broke don't fix it" fits perfectly.

There you have it, my tried and true developers, each one has earned it's place on my shelf of honor, it's what I'm using.

Want to get started? The FPP offers a complete Starter Kit! The kit comes with everything you need.

Other darkroom supplies are available at The FPP - <https://filmphotographystore.com/collections/darkroom-supplies>

All photos by Leslie Lazenby (unless otherwise noted)

Leslie Lazenby fell in love with photography when she was given her first camera, a GAF 126, at the age of 10. Her first job in a camera shop with a custom and commercial photo lab turned into a 20-year adventure in film; leading to positions in darkrooms, customer relations, and as head of purchasing. For the past 15 years, Leslie has owned her own business, Imagine That, retailing traditional photography products, photographic restoration, custom printing and video conversions. She finds her Zen next door at her studio, the Mecca, where she plays with her film cameras, processes film and holds small classes focusing on teens and young adults. @leslie_lazenby on Instagram /<https://www.flickr.com/photos/65448995@N05> on Flickr

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16mm Magazine Film Now!

Last year, the FPP quietly revived an unusual movie film format with a number of quirks:Magazine 16. Since then, we’ve heard from a number of FPP movie film shooters who are thrilled to start shooting on fresh 16mm film in 50 ft magazine format! Intrigued? We hope so, here’s some background on this unique format: __

What is Magazine 16?

Magazine 16 is a movie film format released by Kodak around 1935. The concept is fairly simple: 50 feet of double perforated 16mm film is loaded into a light-tight metal magazine which pops (or slides) into the camera and then shot–think of it as a sort of 16mm version of a Super 8 cartridge.

Originally, the price of the magazine included a small deposit when purchased. When the customer finished shooting the magazine, they returned it to their photo retailer who would send it off to Kodak for processing. The small deposit on the magazine was credited towards the cost of processing. Once at the lab, the film inside the magazine was removed and processed–the magazine was sent back to Kodak for cleaning and reloading. It was then repackaged and sent back out to the world to be sold again.

What’s the history of the format?

The format was released in conjunction with a new camera, the Magazine Ciné-Kodak. The February 1936 issue of Ciné-Kodak News features an extensive article about the camera’s features. According to some additional information I found, some of the earliest Magazine 16 cameras made by Kodak was produced by Kodak AG in Germany.

The format enjoyed popularity in the 1940s and was used extensively during the Second World War for aerial and combat filming.

With the introduction of Regular 8mm film and then eventually 8mm Magazines (a similar format to Magazine 16 which the FPP also sells), Magazine 16 began to lose popularity with consumers due to the cost, the limitations of the format (the magazines are loaded with 50 feet of film), and size and weight of the cameras and projection equipment. When Kodak released Super 8 in the 1960s, Magazine 16 was almost completely irrelevant among most movie film consumers.

I was unable to confirm exactly when Kodak discontinued Magazine 16 – the company’s last Magazine 16 camera was the wonderful Cine-Kodak Royal which was manufactured until 1967. The film itself may have been offered by Kodak into the early 1980s, as the format still had commercial applications, especially in the automotive industry for filming in-car crash tests.

How Does Magazine 16 Work?

The Kodak magazines are loaded with double perforated 16mm film – this is a must due to the magazine’s design. Although there have been some attempts to modify the magazines to accept single perforated film, our tests mostly failed. They perform best with double perf film.

The film is wound inside the magazine on a core and then threaded through the mechanism. The magazine is light-tight because the film loaded inside has no daylight spool. If a shooter were to remove the cover of the magazine outside of a darkroom, the film would be completely ruined.

The magazine has a unique shutter-type mechanism which is moved out of the way of the film gate when the magazine is loaded into the camera. This allows the shooter to be able to remove the magazine from the camera without exposing a single frame of the film.

Unlike other movie film formats, Magazine 16 has an active film counter built within it that allows the user to see, in real-time, how much film has been shot.

Can I Reload My Own Magazines

Although Magazine 16 was never intended to allow consumers to be able to reload the magazines at home, they certainly can. Load and unloading must be done in complete darkness and the magazines have to be precisely threaded to work properly. Due to the complexity of the reloading process, most consumers elected (and still do) to simply purchase the magazines preloaded.

What Cameras Take Magazine 16?

Although Kodak introduced the format, a variety of camera manufacturers produced cameras that use the magazines.

Notable models include the Cine-Kodak Royal (pictured above), the Bell & Howell 200, the Revere 16 Magazine, and the Wollensak 91, just to name a few. There was also a line of Soviet 16mm magazine cameras based on the famous Bell & Howell 200 body.

Where Can I Buy Fresh Film? How Does it Work?

The FPP! We offer a variety of options in film types you can purchase on the FPP’s website.

Due to the nature of the format (and especially because we need the magazines back so we can reload them with fresh film to offer to the next customer!), all of our 16mm magazines are offered as a process and scan package only. Once you have finished shooting your magazine, simply return it to the FPP where it will be processed, scanned, and the film returned to you. The magazine is then reloaded with fresh film and put back into the store for resale. Think of it as a film library of sorts.

What Else Do I Need to Know?

One of the most important things to know about shooting Magazine 16 in today’s world, is that it does pose some risk. Due to the age of the magazines, the FPP can’t guarantee performance. While we do our best to inspect and test each magazine, there can be failure in the field. Like all of the movie film we sell, there are no refunds offered in the event of a failure.

Keep in Mind

Cost is certainly a factor with this format – 16mm film is already more expensive than say Regular 8mm. Additionally, the magazines need to be loaded and unloaded by hand which adds additional cost.

For some shooters, another con is the fact that the magazines only contain 50 feet of film–many 16mm shooters are used to shooting 100-foot loads on spools.

Finally, as mentioned above, the magazines are usually 50+ years old and can sometimes jam during use.

What Are The Benefits of the Format?

Perhaps the most useful benefit of the format is easy loading. Just like Super 8, the magazine is simply inserted into the camera and you’re ready to shoot! The magazine also has 2 additional features that make it unique: it has a built-in shutter-type mechanism that opens when it is inserted into the camera and automatically closes when the magazine is removed. This means if you decide to shoot some of the film in one camera and decide to shoot the rest in another, you won’t lose a single frame during unloading and reloading.

Secondly, the magazine has a built-in footage counter which means you always know exactly how much film is remaining, regardless if you remove the magazine from the camera. This is something you don’t get on Super 8 or 8mm magazines.

For the home processor, the fact that the magazines contain 50-foot loads makes for easier processing on a Lomo UB-1 tank since those reels can only fit 50 feet of 16mm film at a time.

The Film Photography Project is dedicated to keeping home movie film alive! Please help support the cause and **purchase your movie film, developing and scans from our FPP Movie Film Dept **at our On-Line Store!

Owen McCafferty is a native Clevelander who has been shooting analog movie and still film since the age of 12 in 2002. When he’s not out shooting, he works in product development and innovation for a firm in Cleveland.

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