110 Pocketfilm: The Complete Guide — Cutting, Loading, Developing, Scanning

The 110 Pocketfilm format is experiencing a real revival. The compact cameras fit in any jacket pocket, and thanks to reusable cassettes, you can expose any film emulsion in the 110 format. But getting started in the Pocketfilm universe raises questions — which camera? Which film? How to load? How to develop? How to scan?

Everything you need to know — from camera selection to the finished scan. With practical tips from the community and specific product recommendations.

Table of contents

1. Camera selection — Which 110 camera is the right one?
2. Film selection — What goes into the 110 cassette?
3. Cassettes — What matters
4. What to look for when taking photos?
5. Developing — Lab or at home?
6. Digitizing — Methods in comparison
7. Digitizing with the Ausgeknipst Setup

 

 

1. Camera selection — Which 110 camera is the right one?

The 110 format offers a surprising variety of cameras — from simple plastic Instamatics to the smallest SLR in the world. Depending on whether you want maximum control or maximum simplicity, there is the right camera for you.

The most important 110 cameras at a glance

Model	Lens	Shutter	Exposure	Unperf. film?	Price (approx.)
Pentax Auto 110	Interchangeable lenses (18/24/50/70mm)	1s–1/750s	SPD Auto	Limited*	€150–300
Pentax Auto 110 Super	Like Auto 110 + Motor	1s��1/750s	SPD Auto	Limited*	€250–500
Rollei A110	23mm f/2.8 Zeiss Tessar	4s–1/400s	SPD		€200–400
Canon 110ED	26mm f/2.0 (5-element) Rangefinder	1/8–1/500s	Aperture priority		€50–150
Minolta 110 Zoom SLR	25–50mm f/4.5	1/1000–10s + B	Aperture priority	Attention	€100–250
Voigtländer Vitoret 110	24mm f/5.6 Lanthar	Auto	CdS		€30–80
Minox 110S	25mm f/2.8 Color-Minotar	1/1000–4s	CdS Auto	No	€150–350
Lomomatic 110 (new!)	22mm f/2.8	Auto (Day/Night)	Zone Focus	No	€99–159

Our recommendation: Pentax Auto 110

The Pentax Auto 110 is the best 110 camera — period. Why?

1. Interchangeable lenses — A real SLR system in pocket format: 18mm wide angle, 24mm standard, 50mm portrait, 70mm telephoto
2. Excellent optics — The Pentax lenses deliver surprisingly sharp results for the 110 format
3. Takes unperforated film — ATTENTION: The shutter is released, but the film transport requires the perforation for the correct spacing. With unperforated film, the images overlap unless you cheat when tensioning.
4. Availability — The Pentax Auto 110 is relatively common on the used market

Budget tip: Canon 110ED — For €50–150 you get a surprisingly good camera with aperture priority (f/2.0–f/16) and rangefinder focusing from 0.6m.

David Hancock — Pentax Auto 110 Camera Review with Sample Photos

Attention: Important: Compatibility with self-loaded film

Not every 110 camera works with film without perforation. In some models, the perforation is used to tension the shutter. Here's how to test it:

1. Open the back and remove the cassette
2. Operate the film transport
3. Press the shutter

Does the shutter release? → Your camera works with unperforated film!
Does it not release? → This camera needs perforated film.

 

 

2. Film selection — What goes into the 110 cassette?

Analog Insights — Lomomatic 110 Review with Sample Photos

You have two ways to get 110 film: Buy pre-made (Lomography) or cut it yourself. The DIY route is not only cheaper, but gives you free choice from the entire range of films.

Option 1: Lomography — The Only Manufacturer

Lomography has a de facto monopoly on brand new 110 film. Since Fujifilm discontinued production in 2009, there has been no other source:

Film	Type	ISO	Exposures	Price
Tiger 200	Color Negative	200	24	€12–15
Orca 110	B/W Negative	100	24	€12–15
Lomochrome Purple	Experimental	100–400	24	€15–18

The problem: €12–18 per roll for 24 exposures in 13×17mm format is extremely expensive. For comparison: a 35mm film with 36 exposures (24×36mm — almost 4× larger negatives!) often costs less.

Option 2: Cut the film yourself — any emulsion in 110 format

This is the crucial advantage: There is hardly any ready-made 110 film to buy. If you don't want to be limited to Lomography emulsions — if you want to expose Kodak Gold, Portra 400, HP5+, Tri-X or CineStill 800T in 110 format, like with your 35mm or medium format camera — you have no choice but to cut the film yourself and load it into a refillable cartridge.

For this you need a film cutter that precisely cuts 35mm or 120 roll film to 16mm width:

• Portra 400, HP5+, Tri-X, Ektar, Delta 3200 — everything is possible
• Exotic emulsions: CineStill 800T, Rollei Infrared, Fomapan 100
• Significantly cheaper: One Ilford HP5+ 35mm (~€7) yields 2 refills of ~82cm each

Target Length and Yield: 35mm vs. 120

Whether you use 35mm or 120 roll film as the starting format depends on which film stock you have available. Some emulsions are only available for 35mm, others only for 120 — and our film cutters support both formats. The 120 film has no perforations on the edge and therefore in principle delivers more yield:

Source Format	Film Length	Usable Width	Yield
35mm Cartridge (135, 36 exposures)	~165 cm	1× 16mm strip (between the perforations)	2 Refills à ~82.5 cm
120 Roll Film	~83 cm (film only)	3× 16mm strips (no perforation)	3 Refills à ~83 cm

Calculation example: One 120 roll film (~€7) yields 3 refills. That's €2.33 per 110 roll instead of €12–18 at Lomography. One 35mm film (~€7) yields 2 refills = €3.50 per roll.

Backing Paper: Yes or No?

Whether you load with or without backing paper simply depends on the cartridge type and your experience:

• With Backing Paper (cartridge with viewing window) — light protection, frame number visible. Recommended for color film, high-ISO, beginners.
• Without Backing Paper (closed cartridge) — Simpler, faster. Loading in the dark is necessary. Perfect for B/W and experienced users.

Our film recommendations for self-cutting

Film	Type	ISO	Why?
Ilford HP5+	B/W	400	Extremely fault-tolerant, Push/Pull, inexpensive
Kodak Portra 400	Color	400	Natural skin tones, good exposure latitude
Fomapan 100	B/W	100	Budget-friendly, nice grain
CineStill 800T	Color	800	Low-light, night shots
Kodak Tri-X 400	B/W	400	The classic, high contrast
Kodak Ektar 100	Color	100	Sharpest color film, minimal grain

 

 

3. Cartridges — What matters

To load, you need a 110 cartridge. Basically, there are two ways: Modify an existing original cartridge, or use a cartridge specifically designed for reloading.

Method 1: Modifying the original cartridge (DIY)

Bob Janes has on 35mmc documented in detail how to modify old Lomography or Fukkatsu cartridges for reloading. His approach in three iterations:

• Mk1 — Without Backing Paper: Cut open the film chamber, insert a sleeve made of exposed film, load a longer strip of film (>24 exposures possible). Disadvantage: No frame counter display.
• Mk2 — With Backing Paper: Cut the cartridge closer to the exposed film chamber, reuse the original backing paper. Frame counter works, standard 24 exposures.
• Mk3 — Completely open lid: Entire top as a removable lid — easiest loading. Backing paper seals the gap itself.

Method 2: Reusable cartridges (e.g. 3D-printed)

Alternatively, there are cartridges specifically designed for reloading — like our Ausgeknipst cartridge made of PLA+. The advantages over DIY modification:

• Take-up spool: No fiddling with loose film ends — wind up the film, slide it in, done
• ISO Break-away Edge: Standardized notch that you can break off to signal ISO 400 instead of ISO 200 to the camera
• Film transport compatibility: Breaking point for cameras with sprocket gear (e.g. Agfamatic)
• Two variants: With viewing window (backing paper) or closed (without)

Loading film — step by step

Preparation (in daylight):

1. Cut film — 35mm or 120 to 16mm width with a Film Cutter
2. Cut film strips — approx. 78–80 cm long (~24 exposures). This is the standard length.
3. Have take-up spool ready (if available)

Loading (in COMPLETE darkness or in a changing bag!):

4. Wind film onto take-up spool — emulsion (matte side) inwards
5. Push spool into the cartridge — into the empty space of the feed chamber
6. Guide the film start to the take-up spool — fasten
7. Close cartridge + immediately into case

 

 

4. What to look out for when taking photos?

Film is more fun — Taking photos with the Pentax Auto 110: Results and fun factor

The 110 format is less forgiving of mistakes than 35mm — but those who know its peculiarities get amazing results.

Light is everything

The basic rule for 110: More light = better pictures. The small negative (13×17mm) amplifies every mistake.

• Sunlight is your friend — Outdoors in good light, the format delivers great results
• Indoors only with flash — Even ISO 400 hardly produces usable results in artificial light
• Better to overexpose — +1 stop is safer than underexposure. Negative film copes well with overexposure
• Sunny-16: At ISO 200, aperture f/16, shutter speed 1/200s in full sunlight

Pay attention to parallax

110 cameras (except SLR models) have a separate viewfinder. For close subjects (<1m), the image area in the viewfinder is not identical to that on the film. Solution: aim 10–20% higher than visible.

Common beginner mistakes

1. Underexposure — The #1 mistake. Always more light than you think
2. Camera shake — The small negative amplifies every camera movement
3. Wrong ISO notch — Forgetting to adjust the notch on the cartridge
4. Loading in bright light — Even "just a quick look" is enough for light leaks
5. Incorrect transport — With the Pentax: lever twice, not once
6. Too high expectations — 110 is not 35mm. The grain and softness are the charm

 

 

5. Developing — Lab or at home?

Developing 110 film works just like 35mm — you just need a reel that accepts 16mm.

Option 1: Off to the lab

Labs that accept 110 film:

• Fotoimpex (Berlin) — C-41 and B&W
• The Darkroom (USA) — 110 specialist, C-41 and E-6

Option 2: Develop it yourself

For home development, you need a developing tank and a reel that accepts 16mm film:

System	Reel	Tank	Capacity
Ausgeknipst + Paterson	110/16mm Reel (Paterson: SKU 1502b)	Standard Paterson	Up to 4 reels = 8 films
Ausgeknipst + Jobo	110/16mm Reel (Jobo: SKU 1504b)	Jobo 1500 Series	2–3 films

The actual development process is identical to 35mm — B&W as well as C-41, same times, same temperatures. Only the reel is different.

 

 

6. Digitizing — Methods in comparison

You have developed your 110 negatives — now you need to turn them into digital images. The 110 format (13×17mm) has special requirements because the negatives are so small.

The challenge: Small negatives, big demands

A 110 negative is only 13×17mm in size — less than a quarter of 35mm. That means: You need at least 4000 dpi optical resolution for usable results, and every speck of dust is visible.

Comparison at a glance

Method	Speed	Quality (110)	Costs	Community verdict
Flatbed (V600)	★★★	★★	€€	Usable below 3 MP with 110 — only as a last resort if already available
Flatbed (V850)	★★★	★★★	€€€€	Better Dmax (4.0) than V600, but flatbed architecture is limited at 13×17mm
DigitaLIZA	★★★	★★	€	Inexpensive Film Holder, requires additional scanner or camera — pure entry-level
Camera Scanning	★★★★	★★★★★	€€€	← Clearly superior: highest resolution, best dynamic range, contactless

Why camera scanning is superior for 110

• Significantly higher effective resolution than any affordable flatbed
• Faster workflow — One negative per second possible
• No scratches — Contactless, film lies in the holder
• Flexible software — Negative Lab Pro, darktable, Grain2Pixel

 

 

7. Digitizing with the Ausgeknipst Setup

Our scanner system consists of individual layers that build on each other. You only buy what you need. No flatbed can compete with that — Camera Scanning with a dedicated Film Holder delivers the best results with 110. By far.

The complete system at a glance

Orange = 110-specific · Gray = Shared (all formats)

Workflow: From negative to digital image

1. Set up — Copy Stand, mount camera, CS-LITE under the Film Holder
2. Adjust camera — Manual focus, ISO 100, aperture f/5.6–f/8
3. Insert film — Push 110 strip into the 16mm channel
4. Focus — Live View × 10, focus on film grain
5. Trigger — One frame per click, then push the film further
6. Software Inversion — Invert RAW files in Negative Lab Pro, darktable or Grain2Pixel

Recommended macro lenses

Lens	Mount	Reproduction	Price (approx.)
Laowa 65mm f/2.8 Ultra Macro	APS-C	2:1	€280–350
7Artisans 60mm f/2.8	Various	1:1	€100–150
Nikkor 105mm f/2.8 Micro VR	Nikon F	1:1	€350–450
Canon 100mm f/2.8L Macro IS	Canon EF	1:1	€500–650

Scan software for negative inversion

Software	Type	Price	Rating
Negative Lab Pro	Lightroom Plugin	$99	★★★★★
Grain2Pixel	Standalone	Free	★★★★
darktable	RAW editor	Free	★★★
VueScan	Scanner software	$40–100	★★★