Loading 120 Film in a TLR Camera

A step-by-step guide to loading, handling, and unloading medium format film

If you’re picking up a twin-lens reflex camera for the first time, loading film is probably the part that feels most intimidating. 120 film doesn’t snap into a cartridge like 35mm — it’s a spool of film backed with paper, and it threads through the camera by hand. But once you’ve done it a couple of times, it becomes second nature. This guide walks you through every step, from breaking the seal on a fresh roll to safely storing your exposed film.

What Is 120 Film?

120 is a medium format roll film that has been in production since 1901. Unlike 35mm film, 120 has no metal cartridge or canister. Instead, the film is wound around a spool with a protective paper backing that shields it from light. You load it by hand, and after shooting, you seal the exposed roll with a paper tab rather than rewinding it into a housing.

How It Differs from 35mm

No rewind mechanism. The film travels in one direction only — from the supply spool to the take-up spool. When you’re done, you remove the take-up spool with the exposed film wound around it.
Paper backing. A strip of opaque paper runs the full length of the roll, protecting the film from light. The paper extends beyond the film at both ends, forming a leader and a tail.
Wound on spools. 120 film uses flanged metal or plastic spools. After shooting, the empty supply spool becomes the take-up spool for your next roll.
Larger negatives. The film itself is approximately 6 cm wide, producing negatives significantly larger than 35mm’s 24×36mm frame. More detail, smoother grain, gorgeous tonal range.

Frame Counts by Format

The number of exposures you get from a single roll of 120 depends on your camera’s frame size:

Format	Frame Size	Exposures per Roll	Common Cameras
6×4.5	56 × 42 mm	16	Mamiya 645, Bronica ETR
6×6	56 × 56 mm	12	Yashica Mat-124G, Rolleiflex, Mamiya C330
6×7	56 × 70 mm	10	Mamiya RB67, Pentax 67
6×9	56 × 84 mm	8	Fuji GW690, various folders

TLR cameras shoot 6×6 square format, giving you 12 exposures per roll. It sounds like few frames compared to 36 on a roll of 35mm, but the larger negatives more than make up for it, and the limited count encourages more deliberate shooting.

120 vs 220

You may occasionally see references to 220 film. This was the same width as 120 but with paper backing only at the leader and tail — not along the entire length of the film. This allowed double the number of exposures (24 frames at 6×6) on a single roll. However, 220 has been largely discontinued by all major manufacturers and is very difficult to find today. Unless your camera specifically supports 220 (with a separate pressure plate setting), stick with 120.

Anatomy of a 120 Roll

Before you load anything, it helps to understand what you’re working with. A fresh roll of 120 film has these parts:

The spool. A flanged cylinder (metal or plastic) that the film and paper are wound around. You’ll use two spools in your camera: a supply spool (the fresh roll) and a take-up spool (the empty spool that receives the film as you shoot).
The paper backing. A strip of opaque black paper that runs the full length of the roll, protecting the film from light. Frame numbers are printed on the outside of the paper at regular intervals — these are visible through the red window on the back of many TLR cameras.
The film strip. The actual light-sensitive emulsion, attached to the paper backing with tape at one end. The film is shorter than the paper, so paper extends beyond the film at both the beginning and the end of the roll.
The paper tongue. At the start of the roll, a tapered strip of paper extends beyond the film. This is what you thread into the take-up spool’s slot.
The tape seal. A strip of adhesive tape or a gummed paper band that holds the roll tightly wound before you open it. Once you break this seal, you’re committed — load the film promptly.
The film leader. The paper backing extends several inches beyond where the actual film begins. This means you can thread the paper onto the take-up spool and advance a few turns before the film itself is exposed to any light entering through the lens. This built-in leader is what makes loading 120 film relatively forgiving.

Spool compatibility

Most 120 spools are interchangeable between camera brands, but a few older cameras (notably some Kodak models) used slightly different spool designs. If you’re using a vintage TLR, check that the spool from your fresh roll fits your camera’s supply side before you’re standing in the field with a roll you can’t load.

Loading Step by Step

Find some shade. Not total darkness — 120 film’s paper backing protects it from brief exposure to ambient light — but direct sunlight can fog the edges of the film through the paper. A shadow, an awning, or even turning your back to the sun is enough.

Open the Camera Back

Every TLR has a latch or knob that releases the back panel. On a Yashica Mat-124G, slide the latch on the left side downward. On a Rolleiflex, turn the knob at the bottom. On a Mamiya C-series, flip the latch on the left side of the body. The back panel will swing open or lift off, revealing the film chamber.

Remove the Empty Take-Up Spool

Inside the camera, you’ll see an empty spool sitting in the take-up position (usually the top). Lift it out. This empty spool is about to become the take-up spool for your new roll. If this is your very first roll and there’s no empty spool in the camera, you’ll need to find one — your fresh roll of film comes on a spool, and you’ll keep the empty after shooting to use next time.

Place the Fresh Roll in the Supply Side

Drop the new roll into the supply position (usually the bottom on most TLRs). The paper should unwind from the top of the spool, feeding upward toward the take-up position. Make sure the spool flanges sit securely in the retaining slots.

Break the Seal and Unroll the Leader

Peel off the tape or paper band holding the roll closed. Unroll a few inches of the paper leader. You’ll see an arrow printed on the paper and the tapered tongue at the end. Don’t unroll too much — just enough to reach the take-up spool.

Thread the Paper Tongue into the Take-Up Spool

The take-up spool has a narrow slot. Slide the tapered paper tongue into this slot. Make sure the paper feeds in straight and isn’t twisted. The emulsion side of the film (which is attached further along the paper) should face the lens, not the back of the camera. If you thread it backwards, the film will be emulsion-out and your images will be reversed.

Wind Until Secure

Place the take-up spool back into its position in the camera. Turn the advance knob gently to take up the slack and wind the paper onto the take-up spool. Give it 2–3 full turns. The paper should be winding evenly, sitting flat between the spool flanges with no bunching or folding at the edges. If it looks uneven, pull it back and re-seat the tongue in the slot.

Close the Camera Back

Snap or latch the back panel closed. Make sure it’s fully seated — a back that’s slightly ajar is an invitation for light leaks that will ruin your frames.

Advance to Frame 1

Now wind the advance knob while watching for your camera’s frame indicator. On cameras with a red window (a small round window on the back of the camera), you’ll see numbers printed on the paper backing scroll past. Keep winding until “1” appears centered in the window. On cameras with an automatic frame counter (like the Rolleiflex), the counter will stop at frame 1 on its own — you’ll feel the advance lock.

You’re Ready to Shoot

Frame 1 is loaded and waiting. Compose your shot, meter the light, and make your first exposure. Welcome to medium format.

Model-Specific Notes

Camera	Frame Advance	Loading Notes
Yashica Mat-124G	Automatic frame counter with crank-handle film advance and auto-stop	The supply spool sits at the bottom. The 124G has an automatic frame counter — advance the crank handle and the mechanism stops at each frame automatically. Earlier Yashica models (A, D) use a red window for frame counting, but the 124G does not rely on one.
Rolleiflex 2.8/3.5	Automatic frame counter with auto-stop — no red window needed	After closing the back, wind until the start arrow on the paper aligns with a marker inside the film chamber. Then close the back and continue winding — the counter takes over. The mechanism is elegant and reliable once you trust it.
Mamiya C-series	Red window with a sliding metal cover	Always close the sliding cover over the red window between frames. The cover exists for a reason — bright light shining through the window can fog the film. Open it only when advancing to the next frame number.

Common Mistakes

Everyone makes these at least once. Knowing about them in advance can save you a ruined roll.

Threading the paper tongue backwards. If the paper is inserted in the wrong orientation, the film emulsion will face the back of the camera instead of the lens. Your negatives will come back reversed and may show the paper’s printed frame numbers embossed into the image. Before closing the back, double-check that the paper’s printed side faces outward (toward the camera back, away from the lens).
Not winding tight enough. If the paper is loose on the take-up spool during those first few turns, it won’t track evenly. This leads to uneven frame spacing — overlapping frames or excessive gaps between them. Give those initial turns a bit of gentle tension.
Forgetting to close the red window between frames. On cameras with a sliding red window cover, leaving it open in bright sunlight can cause a small circle of fogging on the film. Get into the habit: advance to the next number, confirm it, close the cover, then shoot.
Opening the back before winding off the roll. If you open the camera before the exposed film is fully wound onto the take-up spool, light will hit the film and destroy some or all of your images. Always advance past the last frame and keep winding until you feel the paper tail release from the supply spool.
Forcing the advance when it’s locked. If the winding knob won’t turn, the camera is telling you something — either you need to fire the shutter first (on cameras that interlock the advance with the shutter) or you’ve reached the end of the roll. Forcing it risks tearing the film off the paper backing or stripping the advance gears. Be gentle.

First roll nerves are normal

If you’re anxious about wasting film on your first try, practice loading with a sacrificial roll. Pick up a cheap roll of any 120 film and go through the loading process in daylight with the camera back open so you can see what’s happening inside. You’ll burn one roll, but you’ll understand the mechanics completely before it matters.

Unloading Exposed Film

You’ve shot your 12 frames. Now you need to get the exposed roll out safely. This is the moment when impatience can cost you everything on the roll, so take it slow.

Advance Past the Last Frame

After your final exposure, continue winding the advance knob. The film and paper will keep moving onto the take-up spool. On most cameras, you’ll feel increasing resistance and then a sudden release as the paper tail detaches from the supply spool.

Keep Winding Until Free

Don’t stop at the first sign of looseness. Keep winding gently until you feel no resistance at all — this means the paper tail has completely left the supply spool and the entire roll is wound onto the take-up spool. The paper tail protects the last frame, so make sure it’s fully wound on.

Open the Back Carefully

Find some shade again. Open the camera back. The take-up spool should have a tightly wound roll of film and paper on it. The supply side will have an empty spool — leave that in the camera or pocket it for next time.

Seal the Roll

The paper tail has a gummed adhesive strip. Lick it or moisten it with your fingertip and press it down to seal the roll shut. If the gum has dried out or won’t stick (common with older or improperly stored film), use a small piece of tape. The goal is to keep the roll from unspooling.

Don’t Let It Unwind

This is critical. Unlike 35mm, your exposed film is not protected by a canister. If the roll unwinds, light will reach the film and fog your images. Hold the roll firmly until it’s sealed, and handle it gently afterward. Tuck it into a pocket, camera bag, or the foil wrapper the fresh roll came in.

Handling Tips

120 film is more exposed to the elements than 35mm, both literally and figuratively. The paper backing helps, but it’s not a sealed container. A few good habits will protect your images.

Load and unload in shade. Direct sunlight can fog the edges of the film through the paper backing, especially during the loading process when the paper isn’t yet wound tightly. Even a shadow from your own body is better than nothing.
Store exposed rolls standing up. Standing the roll on its end (spool vertical) keeps the winding tight. Laying it on its side can cause the layers to shift and loosen, which may allow light to creep in at the edges.
Label your rolls. Write the film stock, ISO, and date on the paper tab with a marker. When you get home with four rolls of film in your bag, you’ll be glad you can tell which is Portra 400 and which is HP5 without guessing.
Keep exposed rolls cool. Don’t leave them in a hot car, a sunny windowsill, or a pants pocket on a warm day. Heat accelerates the latent image’s decay and increases fog. A cool camera bag or pocket is fine for the day; refrigerate overnight if you won’t be processing soon.
Process within a reasonable timeframe. Weeks, not months, is the general rule for best results. The latent image on exposed film fades gradually, and color shifts can develop over time. Black and white is more forgiving, but don’t push it.
Don’t squeeze the roll. The paper backing means 120 film is less rigidly protected than 35mm in its canister. Squeezing or pressing on the roll can cause pressure marks on the film that show up as dark spots on your negatives.

Storing Fresh Film

Film is a perishable product. It degrades over time, and heat is its enemy. Proper storage extends shelf life dramatically.

Refrigerate for long-term storage. Keeping unexpired film in the refrigerator (not the freezer, unless you’re storing for years) slows the aging process significantly. Film rated at 2–3 years at room temperature can last much longer when kept cold.
Let film warm up before loading. Take refrigerated film out at least 30 minutes before you plan to load it. Opening a cold roll in warm, humid air causes condensation on the film surface, which can leave water marks or cause the paper to stick to the emulsion. Let it reach room temperature in its sealed wrapper first.
Check expiration dates. 120 film is more susceptible to base fog than 35mm when stored in warm conditions, because the paper backing doesn’t insulate as well as a metal canister. If you’re buying from a shop, check the box for an expiration date. If you’re buying online, ask the seller about storage conditions.
Buy from reputable sources. Film that has been sitting in a warehouse without climate control for years may be technically unexpired but functionally compromised. Reputable camera shops and dedicated film retailers store their stock properly. Bargain film from unknown sellers is a gamble.

Expired film can still be fun

Shooting expired 120 film is popular for its unpredictable color shifts and added grain. If you go this route, overexpose by one stop for every decade past the expiration date as a starting point. The results won’t be technically perfect, but that’s often the point.

Sources & Further Reading

Ilford 120 Roll Film — Ilford’s 120 format film lineup and specifications
metergeist Film Guide — explore the film stocks supported by the app, with reciprocity data and shooting characteristics
Your First Roll of 120 Film — a companion blog post covering what to expect when you get your first medium format results back