Lomography Berlin 400 - 120 Film
Our Price: £9.50 GBP100405
Berlin 120 is a B&W cinema film: extracted from a roll of German cine stock specially for Lomography and steeped in the legends of 1960s New German Cinema. A panchromatic emulsion rated at ISO 400 but able to be pushed to 800, 1600 or ever 3200 while retaining an impressive level of detail. Powerful, enchanting, and updated with a 2019 formulation.
Flexible and atmospheric, Berlin 120 film will help you create timeless and cinematic images of your own.
Lomography has been at the forefront of the analogue revolution for decades. Starting in 1992 with some Viennese students falling in love with the aesthetic of a particular Soviet camera (the iconic LC-A) - they founded a movement and a company that would introduce a new generation to the joys of plastic cameras and experiemental film. Periodically innovating new cameras for existing formats - and sometimes bringing back formats specially for their cameras! - they are vibrant and creative
Where we ship
When you buy your camera film from us we can ship it across the UK, Europe, USA, New Zealand, Australia and Canada (more countries planned soon!) So buy your Lomography Berlin Kino Film 120 today and dive back into the fun of medium format Lomography film photography!
Short but sweet review from me today. The film base is quite dark which results in muddy shadows and highlights when compared to Ilford and Kodak black and white films. I developed my role in D-76 in stock and found when scanning the negatives that the files were a bit flat and had to be pushed to get a contrast that I like. The only way I can describe it is all. mids and little shadows and highlights. Personally, I would prefer to shoot either a Kentmere or Foma film as they are about half the cost and I prefer the look of those stocks.
The film is fine I know some people will dig this film, unfortunately, it's just not for me.
This is the first time I have used this 120 film and was keen to give it a try I am happy with the film although the weather was pretty rubbish which left the negatives with a low contrast but I have a roll of 35mm which I will use when the weather is good I developed it in xtol with the same time as for the 35mm as no time was stated for 120mm on the massive dev chart. The picture is only a quick scan on my phone.
The first time I tried this film, I wrecked it with a stupid mistake in developing. This time, I sent it to AG photo for processing, not so much because I was afraid to develop it myself, but more because I have been too busy to do my own processing.
On a recent trip to Dunkeld, I dropped a roll in my little old Afga Isolette, a ridiculously cheap camera -- most of the film I put through it costs more than the camera did. The camera has no meter or gadgets to tell you where to set the dials, so you have no choice but to figure it out according to the light and the film speed, and what you’re trying to achieve. I have ditched the neurotic habit of writing down every exposure setting of every frame. Consequently, I’ve enjoyed my photography more, although I am less certain of good results.
I am pleased with how moody this film is -- the autumnal feeling of a rainy weekend in the Hermitage Forest is certainly preserved in these images. I scanned the negatives on an Epson and made a couple of contrast adjustments in these examples, and added some split toning in the cropped one. I will be back for more of this stock.
This is a difficult film to review: the end results are pleasant and under the right conditions, the film shows wonderful potential with a lovely grain structure and a fantastic cinematic look.
Unfortunately, however, to get there, one needs to be very patient and resilient (or send it to a lab). I have been developing my own film for quite a while. So far, this one has been the most troublesome. Loading it on plastic reels is difficult and frustrating as it tends to twist and turn a lot. I also found that it needs longer fixing than other emulsions. Despite using wetting agent as normal, the film developed drying marks. The biggest surprise was the heavy curling which made the negatives impossible to scan at first (flattening the strips under a stack of books worked well). The film has a dark film base which might limit the tonal range. Of course it is perfectly possible that I just got unlucky with the two rolls I shot and developed so far.
Once dry and flat, the negatives look fine. If you are used to the classic 400 emulsions, don't be discouraged by the dark, yet thin film base; the negatives still scan nicely. That being said, the film definitely has less latitude and flexibility than HP5 or Tri-X and needs good light to shine. But if you find that golden hour sweet spot, the images come out looking great displaying a strong cinematic nostalgia and lovely cubic grain. The sample photo below was shot during golden hour and with a yellow filter attached to the lens (developed in Rodinal 1:50 for 13 min at 20°C; exposed at EI400 with adjustments for filters). The negatives without yellow/orange filters tend to look a bit too flat for my taste.
Despite the pleasant results and the cinematic look, it did not win me over. HP5 and Tri-X are more flexible emulsions, easier to develop, virtually indistructable, and deliver great, contrasty results in almost all lighting conditions. I would give the film 3.5 stars - but in absence of half stars, I will have to award 3 stars.