Number of Frames Per Roll One of the simplest but most determining differences between 35mm and 120 film is the number of images per roll. A standard 35mm roll typically offers 24 or 36 exposures; some "half-frame" cameras can even go up to 72 views. This makes 35mm very forgiving, as you can experiment, learn from your mistakes, and practice quickly without fearing too much film waste.
Conversely, 120 medium format film provides far fewer exposures. Depending on the camera body, a 6x4.5 format gives about 16 views, 6x6 around 12, 6x7 approximately 10, and 6x9 only 8. This constraint naturally slows down the shooting pace; it encourages careful composition and treating each image as a deliberate choice. For learning or street photography, the high frame count of 35mm is practical; for polished portraits or landscapes, some photographers appreciate the discipline imposed by the low number of exposures on 120 film.
Cost and Shooting Workflow Cost is another factor beginners often overlook. Because a 35mm roll contains more images, the cost per photo is lower. Developing and scanning are also generally less expensive, with labs often charging between 10 and 20 euros per roll. Practically speaking, starting with 35mm saves money: mistakes and repeated shots cost less when the expense per image is reduced. Medium format film is more expensive per image, even if the price of the roll is comparable. Developing a 120 roll often costs around 15 to 25 euros due to extra handling and negative size. The shooting workflow is also slower. Many 120 cameras require manual winding, precise focusing, and more deliberate composition, while 35mm allows for rapid shots and quick reloading. In summary: 35mm favors speed and spontaneity, while 120 favors intention and concentration.
35mm contact sheet by Guy Le Querrec. Credit: Magnum Photos.
Negative Size and Image Quality Negative size strongly influences the final rendering. A 35mm image measures 24 x 36 mm, capturing enough detail for beautiful prints for everyday use. Grain is visible, especially at high ISO sensitivities, but this grain can provide an intentional texture, notably in reportage and street photography.
The 120 negative is significantly larger. Even a 6x6 cm frame represents roughly four times the surface area of a 35mm negative. This extra surface allows for more detail, smoother tonal transitions, and finer grain. Shadows, highlights, and subtle nuances gain richness, making medium format the frequent choice for large-format prints or gallery work. While modern scanners and lenses improve 35mm scan quality, 120 generally remains superior for pure detail fidelity.
Left: 35mm, Right: 120 format. Credit: David Rose.
Aspect Ratios and Creative Flexibility 35mm has a fixed aspect ratio of 3:2, identical to most full-frame digital cameras. It’s a versatile format suitable for landscapes, street, and everyday scenes. However, this single ratio limits in-camera composition: to obtain square or panoramic images, you must crop later, which reduces quality.
The 120 format offers a real advantage here. Depending on the camera, it offers formats like 6x4.5 cm (approx 4:3), 6x6 cm (square), 6x7 cm, 6x9 cm, or even panoramic formats like 6x12 or 6x17. This variety allows you to compose directly in the desired format without cropping and provides greater creative control. 6x6 is perfect for centered portraits, while 6x7 offers a more cinematic framing with extra detail. In practice, 35mm stands out for its simplicity and versatility, while 120 offers more possibilities to build an image right from the moment of capture.
Photographed with the Widelux by Jeff Bridges.
Depth of Field and Subject Isolation The difference in negative size also affects depth of field. In 35mm, the smaller format naturally produces a deeper depth of field at equivalent apertures. Thus, more of the scene remains sharp, which is useful in street, reportage, and landscapes. A street scene at f/8 on 35mm can keep both the foreground and background sharp simultaneously.
Medium format, on its part, generates a shallower depth of field at the same apertures. A portrait in 6x6 at f/4 will display a noticeably blurred background, making the subject pop. This creamy background blur is harder to achieve in 35mm without long focal lengths or very wide apertures. 35mm is suitable when you want everything sharp; 120 is ideal for a very marked separation of the subject from their environment.
Photographed with the Mamiya RB67 by Alisa Gulkanyan.
Camera Experience and Shooting Rhythm Shooting in 35mm is fast and intuitive. Compact, SLR, and rangefinder cameras allow for quick focus, rapid film advance, and sequences of shots that reduce waste. You can carry several rolls, switch scenes in an instant, and work in varied conditions, making it a frequent choice for events or street photography. This is why many photographers start with 35mm: it leaves a margin of error while learning settings and compensations.
Medium format bodies are often slower. Many are equipped with fully manual focus and require a lever or knob to wind the film. Some require composing at waist level via a ground glass, framing with care, then activating a full wind to cock the shutter: a process that calls for reflection and care. With only a few frames per roll, you learn to value each image, developing patience and precision. Slower, this ritual makes the practice of medium format more intentional and sometimes meditative.
35mm photographs by Joel Meyerowitz.
Equipment Size and Portability 35mm cameras are generally compact and lightweight; you can find pocketable rangefinders and professional SLRs of a reasonable size. This makes 35mm ideal for travel, hiking, or any session where you plan to carry gear all day. Medium format cameras are bulkier, heavier, and often require sturdier support when composition becomes difficult to hold handheld. They are more visible, and their metal construction and larger lenses sometimes attract more attention in the street. In practice, photographers often use 35mm for daily shooting and reserve 120 for more posed and planned sessions. While compact 120 options exist, portability generally always favors 35mm.
Left: Mamiya RB67 (2.8 kg) and Hasselblad 500C/M (2.2 kg), Right: Leica MP (590 g).
Scanning and Grain Structure When it comes to scanning and grain, 35mm and 120 diverge again. Grain is more apparent in 35mm due to the small negative surface, particularly when film sensitivity is higher. This adds texture but can limit the smoothness of a large-format print if that’s your goal.
The 120 negative, by its size, presents finer grain because the silver halide crystals are spread over a larger area. In scanning, a 120 frame translates to a very high-resolution image with smooth tonal transitions. For example, it might be necessary to scan 35mm at 4,000 ppi to reach a pixel dimension comparable to a 120 scan at 2,000 ppi. Most labs scan both formats, but high-resolution medium format scans can take longer and cost more. Either way, both formats always require a good scanner to get the best out of the negative.
Left: 35mm on Kodak Gold 200, Right: 120 (645) on Kodak Gold 200.
At Club 35, both 35mm and 120 films are scanned with the same level of care. Each scan is performed manually using custom color profiles to respect each photographer's unique intention and style, regardless of the format used. Contrary to common belief, medium format is not necessarily always more expensive. With us, depending on the chosen export format, developing and scanning 120 film costs between 20 and 22 euros, while 35mm is offered at 22.90 euros.
We do not charge per image, a deliberate choice that provides transparency and price stability, especially for photographers working long-term or wishing to build a consistent look without calculating every shot. For more details, you can consult our development and scanning rates for 35mm and 120 films directly on the Club 35 website.
Conclusion: Which format to choose and why Both formats have their place; neither is inherently "better." 35mm is forgiving, portable, and economical: it’s perfect for beginners, street photography, travel, and daily shots. Mistakes cost less, and the high frame count allows for experimentation. On the other hand, if your priorities are high image quality, high detail, and total artistic control, medium format often justifies the extra cost and effort. It’s ideal for portraits, landscapes, art, and any project where resolution, depth, and rendering matter. Many photographers use both: 35mm for the daily grind, 120 when every image counts. Understanding these differences will allow you to choose the format that fits your workflow, your style, and the way you want to see the world through film.
