The KMZ is an idiosyncratic camera and nowhere else is this more apparent than in terms of loading film. Whilst it uses normal 35mm film that’s as far as normal goes. The film needs to be transferred into the proprietary cassette before loading. It then needs to be attached to the four-part take up cassette before being loaded. Now, all of this can be done in daylight but you do lose a good lump of film in the process and given how few frames you actually get the loss of even one is a big reduction.
Add in the fact that I do not have a cassette to hold the film before it is exposed and so I am having to fudge matters a little then you will appreciate that this process becomes even more interesting. All things considered I have made the decision that whilst some parts can be done in daylight and others need to be done in the dark, for simplicity I am doing everything in a large changing bag.
Whilst researching how to load the camera before Jon forwarded his to me I found these instructions on Flickr. They might have been uploaded nine years ago but they illustrate very clearly the process when using the proprietary cassettes and I found them very easy to follow.
Having transferred the film into the right-hand cassette and attaching the take-up cassette I popped everything into the changing bag to actually load the cassettes.
Jon’s camera as I have said came with both of the cassettes and I found that by following these instructions and then using a changing bag to load the film into the camera I was getting the maximum number of frames per roll. I should add that when I finished the roll I popped the camera back into a changing bag and immediately transferred the film directly from the camera and onto a reel and into the developing tank.
But, with just one cassette matters are a little different and I have experimented with a couple of ways of loading the film so far. Both methods that I’ve tried to date need some simple DIY however.
The simplest is to cut down the spindle from a normal 35mm cassette as shown (left) removing the top and also filing down the ridge at the bottom of the spindle. I used a hacksaw and a sheet of sandpaper for this job.
This hacked about spindle slides snuggly into the FT-2 and from my experiments with a roll of Fomapan, my copy of the FT-2 remains light tight and the film remains scratch-free. Leaving film loose in the camera body isn’t ideal I guess but it works. My concern is whether or not every copy of the FT-2 gives such a light-tight environment.
So, on to experiment two.
Wanting to protect the film to some degree I took a plastic reloadable cassette. The spindle was hacked as before. Removing the locking cap from the cassette I proceeded to remove plastic from top and bottom, reducing the height of the cassette until it slid snugly into the camera. It turned out that I had to remove the top and bottom completely so this wasn’t going to be a totally light tight solution. However, with the spindle inserted it did keep out most of the light and of course would give some protection from scratches. The natural light-tight property of my FT-2 would do the rest.
Everything still needs to be done in the changing bag of course.
I am going to keep looking for a more robust solution of course (and for a second cassette) and as I try out other ideas I will share the results here.
FOOTNOTE: Bill T, if you are reading this I was going to create a video showing transferring the film and loading the cassette before loading everything into the FT-2; a picture can often be worth a thousand words after all. However, my FT-2 is currently loaded so I haven’t been able to do so as yet. If you would find it useful however then DM me on Twitter and I will do it for you when I’ve used this roll.