Film Review—Washi E 120 black and white film
Curious about a film that turns green to black? Check out Washi E 120 film stock
What made me try Washi E 120 black and white film?
I had never heard of this film until Analogue Wonderland got in touch to ask if I would like a couple of rolls of Washi E film to test for them. Here’s how I got on with this unusual black-and-white film.
Washi E 120 film: the Specs
Washi E is a black-and-white film with an ISO of 3. It was originally designed for creating printed circuit boards (PCBs), so it’s definitely not your standard film stock! It’s only available in sheet film and 120 format, as it’s impossible for them to perforate this thick film for 35mm format.
One thing to note is that Washi E is completely insensitive to green light, so anything green in your image will just look black.
ANALOGUE WOnDERLAND
Analogue Wonderland are a UK-based lab that offer a wide variety of films. Some films sell out fast though, so it’s worth signing up to be notified when it comes back in stock.
They also offer developing for black and white and colour films, as well as specialised developing, such as for souped films.
Out and about—How I used my 1st roll of Washi E
I chose to shoot this film with my Pentax 645n and the standard 75mm lens, mainly because I could set the ISO on the camera to ISO 6 (the lowest it would go) and then set my exposure compensation to +1.
It was December, so I went to Dungeness, Beachy Head and Camber Sands. Why did I choose these locations? I figured there would be some greenery, but not too much, and I wanted to see how landscapes would look with this film. I kept things simple: taking just my tripod, my light meter app, and my Gossen light meter. No filters—I wanted to see how the film performed on its own.
It’s rare to get sunny weather in the UK in December, but I got lucky. Bright sunlight gave me the chance to see what Washi E could do in good conditions.
Developing Washi E film
This is where things get a bit technical. Washi E can’t be developed like standard black-and-white film—it’s designed to be processed like resin-coated (RC) photo paper. I was lucky enough that I had a friend who offered to develop this film for me.
Chemicals and Process
Developer: Use a photo paper developer. My friend Tom developed my rolls using Ilford Multigrade diluted at 1:9. You can load it in the dark into a processing tank and then develop it in normal light, just like all black and white film or home processing.
Stop Bath: A standard stop bath will work to halt development.
Fixer: Use a fixer diluted at 1:4 for the appropriate time.
Processing Time
The development time my friend used was 3.5 minutes in Ilford Multigrade 1:9 solution. This may vary slightly depending on your developer and conditions, so it’s always a good idea to run tests with a clip of the film first.
Key Considerations
Washi E behaves differently from traditional film stocks. Treat it like photographic paper, which means shorter development times and more care to avoid overexposure during processing.
It’s worth noting that many standard film labs may not process Washi E due to its unique requirements. Check ahead or consider developing it yourself if you have the setup.
The Results: Roll #1 Washi E 120
Honestly, I felt quite disappointed with the results. Anything green in the frame turned completely black, and even though I overexposed, most of the shots were far too dark. As I ‘only’ got 16 exposures, making a wrong decision on a photo has a far greater demotivating effect compared to just 1 shot of 36 when shooting with 35mm film!
This film has an extreme contrast range, almost like photocopier paper. Shadows and highlights are very unforgiving—you really have to choose one or the other. In addition I got very strong vignetting on some shots.
Shooting Roll #2 Washi E 120
For my second roll, I decided to avoid landscapes altogether and focus on urban subjects. I went for backlit windows, interesting architectural shapes, and high-contrast scenes.
The conditions were bright but misty and foggy, which I thought could give some striking results with Washi E. I used the same camera and lens setup, finishing the roll just before sunset.
The Results: Roll #2 Washi E 120
Despite overexposing almost every shot by 1–2 stops (on top of the +1 compensation), the images were still very dark. Washi E has almost no latitude—shadows are hard to lift, and highlights blow out easily. I had some technical issues with metering the Pentax 645n with this roll which could explain the results.
This film forces you to make choices: expose for the shadows and let the highlights blow out, or preserve the highlights and lose the shadows. You can’t have both.
While the results were better than my first roll, I still found the film too extreme for my liking. For my style, something like Svema MZ-3 or ortho film would give a more pleasing look.
Final thoughts on Washi E 120
If I’d read the Washi E data sheet before shooting, I would have chosen very different subjects. This film really isn’t suitable for landscapes or scenes with greenery—it’s better for controlled setups like still life, portraits, or urban photography.
Would I use it again? Probably not. It’s too unforgiving for my style, and since I’m not developing my own film, it’s a hassle to process. That said, it’s an interesting stock for pushing you out of your comfort zone and making you think differently about light and contrast.
If you’re looking for a creative challenge or enjoy experimental photography, give it a try!
What 3 Words for this film?
- Extreme – The film has a very high-contrast, binary nature, making it stark and unforgiving in its tonal range.
- Experimental – With its unique characteristics (like green light insensitivity), Washi E pushes you to think differently and adapt creatively.
- Unforgiving – The film offers little latitude, with shadows and highlights requiring precise exposure decisions.
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