In the end the film is still not held flat against the gate by a pressure plate, but the lenses are wider with greater depth of focus which somewhat overcomes this. If the back of a 110 camera is opened part way through a roll, it is only the frame that is exposed in the cartridge gate that will be wasted. The 110 cartridge is a sealed unit with two seperate light-tight containers for exposed and unexposed film. Those sprocket holes meant you lost a good proportion of the width of the film – and (frustratingly for film manufacturers), you wasted valuable silver salts in treating large areas of celluloid backing that would never be exposed to light. Because of the need to feed the film through cinema equipment at high speed and accuracy, 135 film had sprocket holes on each edge. The other problem was economic and lay with the original use of 35mm film for cinema production. There was an attempt to deal with this with the introduction of 126 film, which produced square 28mm images on 35mm width film with a single sprocket hole per frame, but the 126 cartridge didn’t hold the film very flat in the gate and limited how small you could make the camera. This tended to lead to rookie mistakes like opening the back before rewinding and so losing at least some shots off the roll (less of a problem with later 135 cameras, which tended to automatically rewind). For one thing, although the film could be contained in a small light-tight cassette, there was a need to return the film to the cassette after exposure. A bit of History & Backgroundĭevelopments in film emulsions meant that miniature cameras (135 format) enjoyed great popularity in the 1960s, but there were problems perceived with the format. Having recently borrowed a couple of 110 cameras, I decided to go about shooting, developing and scanning the film myself. The frame size was 13x17mm – not all that dissimilar to the digital Micro 4/3rds format (13.5x18mm). The 110 cartridge was a single integrated unit which was easy to load and required no rewinding at the end of the roll. Kodak reused the 110 designation, which had originally been used for a roll-film format about 70 years previously. I think this is a shame, really, because a bit more attention to getting the colour balance right during scanning could have led to better results, and the resolution and quality of the Imacon scans would deserve it.Back in 1972 Kodak introduced a new format for stills film. Still, even so, a scan is a scan, and there is not the same degree of freedom in setting white balance in post as there would be in a digital RAW file. ![]() Luckily, I always opt to pay extra for the 16-bit TIFF option, and that gives me some extra leeway to do some colour correction in post, and I was able to get rid of the colour cast in most (albeit not all) cases. And given that this happened consistently, and not just in a single isolated case, I think it must be due to inaccurate colour balancing practice during the scanning process. However, there is one caveat: in most of the cases, my scans came back with a noticeable YELLOW colour cast. This is clearly significantly better than most other scanning solutions (flatbeds, mini-labs, etc.). Overall, the quality is really high, especially with regards to resolution, contrast and acutance. I've had a number of 120 colour negative film rolls developed and scanned on the "high-end" Imacon Flextight scanner, and I think I can now offer my honest feedback. Affordable pricing so you can continue to enjoy the art of colour film photography without breaking the bank Receive high-quality results from experienced professionals who are expert at reflecting your photography in the results Enjoy the convenience of colour scans, digital images and prints - display your photos wherever you wish Preserve your memories in a timeless medium: colour film has been used to capture some of the greatest moments of the past century, as well as countless family memories Affordable pricing with unbeatable quality to get the best C41 film developing package for you Benefits: Order a set of prints at the same time as developing to have them delivered with your negatives ![]() ![]() High-quality digital scans and prints with a range of different options to suit your vision. Skilled technicians with years of experience developing C41 films - every frame is checked before its released to you Professional-grade colour film processing equipment for consistently excellent results We develop your colour film and provide you with high-quality digital images and/or prints that capture the essence of your memories. Our Colour C-41 Film Processing service is perfect for those who still love the art of film photography but want the convenience of digital images.
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