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    • Source: 120 film

      • 120 is a film format for still photography introduced by Kodak for their Brownie No. 2 in 1901. It was originally intended for amateur photography but was later superseded in this role by 135 film. 120 film survives to this day as the only medium format film that is readily available to both professionals and amateur enthusiasts.


      Characteristics



      The 120 film format is a roll film which is nominally between 60.7 mm and 61.7 mm wide. Most modern films made today are roughly 61 mm (2.4 inches) wide. The film is held in an open spool originally made of wood with metal flanges, later with all-metal, and finally with all-plastic. The length of the film is nominally between 820 millimetres (32 in) and 850 millimetres (33 in), according to the ISO 732:2000 standard. However, some films may be as short as 760 millimetres (30 in). The film is attached to a piece of backing paper longer and slightly wider than the film. The backing paper protects the film while it is wound on the spool, with enough extra length to allow loading and unloading the roll in daylight without exposing any of the film. Frame number markings for three standard image formats (6×4.5, 6×6, and 6×9 [4:3, 1:1, and 2:3 aspect ratios]; see below) are printed on the backing paper.
      The 220 format was introduced in 1965 and is the same width as 120 film, but with about double the length of film and thus twice the number of possible exposures per roll. Unlike 120 film, however, there is no backing paper behind the film itself, just a leader and a trailer. This results in a longer film on the same spool, but there are no printed frame numbers. Because of this, 220 film cannot be used in cameras that rely on reading frame numbers through a red window. Also, since the film alone is thinner than a film with a backing paper, a special pressure plate may be required to achieve optimal focus if the film is registered against its back side. Some cameras capable of using both 120 and 220 film will have a two position adjustment of the pressure plate (e.g. the Pentax 6x7, Mamiya C220 or Mamiya C330) while others will require different film backs e.g. the Pentax 645 or Kowa Six.
      The specifications for 120 and 220 film are defined in the ISO 732 standard. Earlier editions of ISO 732 also provided international standards for the 127 and 620 film formats.


      Frame sizes



      120 film allows several frame sizes.

      †User selectable on newer cameras, if a roll is only partially used then a "kink" may appear in the film where the roll touches rollers in a film back magazine and this may end up on a frame; this is not a problem when 15 exposures are used as the gaps between exposed frames is larger, nor if the camera is not used intermittently.
      The 6×9 frame has the same aspect ratio as the standard 24×36 mm frame of 135 film. The 6×7 frame enlarges almost exactly to 8×10 inch paper, for which reason its proponents call it "ideal format". 6×4.5 is the smallest and least expensive roll-film frame size.
      The wide 6×12, 6×17, and 6×24 cm frames are produced by special-purpose panoramic cameras. Most of these cameras use lenses intended for large format cameras for simplicity of construction.
      Cameras using 120 film will often combine the numbers of the frame size in the name e.g. Pentax 6×7 (6×7), Fuji 617 (6×17), and many 645s (6×4.5). The number '6' in general, and the word 'six' are also commonly used in naming cameras e.g. Kiev 60 and Pentacon Six.


      Other similar 6 cm roll films



      The 105 format was introduced by Kodak in 1898 for their first folding camera and was the original 6×9 cm format roll film. The 117 format was introduced by Kodak in 1900 for their first Brownie camera, the No.1 Brownie, 6×6 cm format. These formats used the same width film as 120 film, but with slightly different spools. The 105 spool has a much wider flange, similar to the 116 spool, while the 117 spool's flange is slightly narrower than the 120. The 105 and 620 spools also have much thinner flanges than the 117 and 120 spools (0.635 mm (0.0250 in) vs. 1.524 mm (0.0600 in)); as a result, an unmodified 120 spool will not fit a camera designed for 105 film, such as a No. 1 Folding Pocket Kodak, as the overall length between the outside of the flanges is too long to fit the width of the film chamber.
      The 620 format was introduced by Kodak in 1931 as an intended alternative to 120. Although mostly used by Kodak cameras, it became very popular. The 620 format is essentially the same film on a thinner and narrower all-metal spool (the 120 spool core was made of wood at that time):

      105 2.509" (63.7 mm) width, 1.250" (31.8 mm) flange, 0.468" (11.9 mm) core
      117 2.470" (62.7 mm) width, 0.875" (22.2 mm) flange, 0.468" (11.9 mm) core
      120 2.???" width, 0.990" (25.1 mm) flange, 0.468" (11.9 mm) core
      620 2.???" width, 0.905" (23.0 mm) flange, 0.280" (7.1 mm) core
      Hence the 620 is sometimes referred to as "small hole" 6×6 or 6×9 as opposed to 120 "large hole". The 620 format was discontinued by Kodak in 1995, but it is possible to rewind 120 film onto a 620 spool in the darkroom for use in 620 cameras. According to Kodak, the narrower metal spool allowed building smaller cameras. Nonetheless the 120 format cast-metal bodied Voigtländer Perkeo remains smaller than any 620 format camera.


      See also



      Fujifilm 120/220 Barcode System film
      616 film
      List of color film systems
      Category: Film formats


      References

    • Source: 120 (film)

      • 120 is a 2008 Turkish war film directed by Murat Saraçoğlu and Özhan Eren based on the true story of 120 children who died in 1915 carrying ammunition for the Battle of Sarikamish against the Russians during World War I. The film went on general release across Turkey on February 15, 2008 (2008-02-15) and is one of the highest grossing Turkish films of 2008.


      Production


      Writer, producer and co-director Özhan Eren, an expert on the Caucasus Campaign in World War I, who came across the story of the 120 boys while doing the research for his bestselling The Road to Sarıkamış (Turkish: Sarıkamış'a Giden Yol), spent three years preparation for the film.

      I adore period movies... this is what stimulates me about the movie... The authentic historical scenario of the movie is one of the features that make the film exceptional. We show what our ancestors sacrificed -- and under which conditions -- for the country. There may not be many battle scenes, but there certainly is emotion around every corner. It is about the heroism of 120 children. I expect the audience to respond positively, looking from this perspective.
      It is a theme I have stressed for years. We went through unique battles and pretty hard days as a nation. However, we are somehow unsuccessful in making movies out of them. We are unable to tell our history to the coming generations... We experienced calamities. In each home we have a martyr. These [stories] have to be told, and '120' is a crucial project in this respect. It will be tiring for me, but it is worth it.
      The film, which received a record amount of support from the Turkish Ministry of Culture and Tourism, was shot over two years in harsh conditions on location in Safranbolu, Van and Istanbul, Turkey. When heavy snow, expected in Van for the winter settings of the film, failed to arrive, 20 trucks, two loaders and 30 staff members had to be laid on to bring 300 tons of snow from Çaldıran to Van for several scenes.


      Plot


      During the Battle of Sarikamish, the Ottoman army runs out of ammunition and appeals for help to the people of Van, who happen to have supplies. However, the First World War is on and all the men are fighting at the four corners of the empire and therefore can not respond to the appeal. The young children of Van want to do something and when the principal of a school, who has lost a son in the war, suggests that they transport ammunition, 120 young boys aged 12 to 17 volunteer and take to the road. The movie tells the true story of the 120 boys and their sisters and mothers left behind, who wait for their return.


      Cast


      Ozge Ozberk
      Burak Sergen
      Cansel Elcin
      Yaşar Abravaya
      Melih Atalay
      Ozan Cem Dur
      Emin Olcay
      Demir Karahan
      Deniz Güngören
      Halil Kumova
      İncilay Şahin
      Misak Toros
      Melza Burcu İnce
      İbrahim Öner
      Mustafa Karakoyun
      Ahmet Uz
      Oytun Öztamur
      Emre Törün
      Alican Yılmaz


      Release


      The film went on general release, with what Emrah Güler described as, an aggressive (and unnecessarily nationalistic) marketing campaign, in 179 screens across Turkey on February 15, 2008 (2008-02-15) at number one in the Turkish box office with an opening weekend gross of US$376,812.
      The film had a gala screening in Stuttgart on May 7, 2008 (2008-05-07) before going on general release in 32 screens across Germany on May 8, 2008 (2008-05-08) at number 17 in the German box office with an opening weekend gross of US$53,763.
      The film was re-released, to coincide with August 30 Victory Day (Turkish: Zafer Bayramı) celebrations, in 32 screens across Turkey on August 29, 2008 (2008-08-29) at number thirteen in the Turkish box office with an opening weekend gross of US$23,071.


      Reception




      = Box office

      =
      The film was in the Turkish box office charts for 41 weeks and is the 9th highest-grossing Turkish film of 2008 with a total nationwide gross of US$3,289,480.


      = Reviews

      =
      Despite the tone of the press release and the trailer... [it is] attracting impressive crowds thanks to rising nationalism, fueled by, among many things, the debates around the Armenian issue, [the film] is very careful not to become another tool for mindless propaganda in the recent nationalist discourses. And neither does it play out as praise of war. It simply tells a sad story, lost to the annals of history. The trick is that the period the movie carefully taps into is a minefield already, whether you are careful not to take sides or overlook certain details. [The film] opens up another discussion on whether you can make an anti-war film through depicting war and the unnecessary deaths of many, when most of the time it is better to find a justification for those deaths if you do not want your young to have died in vain.
      On the whole, [it] is a powerful film despite its many setbacks, including the usual didactic dialogue, overdose of melodrama and over-length running time. It reminds us that the milestones forming the Turkish Republic were achieved with great personal and social sacrifice under the harshest of conditions, where disease and poverty had already overcome Anatolia. Throughout our childhood and youth, we are always taught how painstakingly difficult and laborious it was to declare independence to create modern Turkey, and yes, sometimes we hear it to too many times for own good. However, the makers of '120' -- I want to believe with good intentions -- succinctly remind us that indeed it was never easy as a nation to get to where we are now. In our current socio-politically volatile times, let's just hope that history doesn't repeat itself.


      References




      External links


      120 at IMDb

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