110 Pocket Film: The Complete Guide to Cutting, Loading, Developing, and Scanning

110 Pocketfilm is experiencing a revival: Reusable cartridges allow you to expose any film emulsion in the compact format. This guide explains step by step how to cut 35mm film to 110 format, fill cartridges yourself, develop the film, and then scan it.

Bob Janes has written probably the most detailed English-language guide to the 110 format, from cartridge to scan. Andrew Long documents C-mount scanning and 110 workflows. Essential reading. Read the article.

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

Everything you need to know, from choosing a camera to the finished scan. With practical tips from the community and specific product recommendations.

Table of contents

1. Which 110 camera is right for you?
2. What goes into the 110 cartridge?
3. What matters about the cartridge
4. What to look out for when taking photos
5. Have it developed or develop it yourself?
6. A comparison of digitizing methods
7. Digitizing with the Ausgeknipst setup

 

 

1. Which 110 camera is right for you?

The 110 format offers a surprising variety of cameras, from simple plastic Instamatics to the world’s smallest SLR camera. Whether you want maximum control or maximum simplicity, there’s a camera that’s right for you.

The most important 110 cameras at a glance

*Limited (Pentax Auto 110 / Super): With the original Pentax Auto 110, the shutter cocks even without perforations, but advancing the film requires two strokes of the advance lever for correct frame spacing and to release the shutter. The later Auto 110 Super advances the film fully to the next frame with a single stroke of the lever. ** Rollei A110: Push-pull transport mechanism. The camera advances the film every time it is opened, regardless of whether a picture was taken. With unperforated film, the transport does not stop at the perforation, so film is wasted. The Rollei E110 (aperture-priority automatic exposure, CdS cell) has the same problem. *** Minolta: Compatibility with unperforated film is limited and must be tested on the specific camera (see the test instructions below). **** Lomomatic 110: Push-pull transport mechanism; it advances the film like the Rollei A110 and Agfamatic every time it is opened/closed, making it critical for self-loading. It also has a known fragile winding mechanism (community reports of broken mechanisms, including with original film). We have not tested it ourselves. Use at your own risk.

Our recommendation: Pentax Auto 110

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

1. Interchangeable lenses: A true 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. Accepts unperforated film: With the original Auto 110, you need to advance the film twice using the advance lever to transport the film correctly and release the shutter. The later Auto 110 Super does this in a single stroke.
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 three exposure settings (sun/clouds/indoors) and rangefinder focusing from 0.6 m.

David Hancock, Pentax Auto 110 Camera Review with Sample Photos

Compatibility with self-loaded film

Not every 110 camera works with unperforated film. On some models, the perforations are used to cock the shutter. Here's how to test it:

1. Open the back and remove the cartridge
2. Advance the film
3. Press the shutter release

Does the shutter fire? → Your camera works with unperforated film!
Doesn't it fire? → This camera requires perforated film.

Our detailed camera ranking with sample photos and buying recommendations. View the camera guide.

 

 

2. What goes in the 110 cartridge?

Analog Insights, Lomomatic 110 review with sample photos

You have two ways to get 110 film: Buy it ready-made (Lomography) or cut it yourself. The DIY route is not only cheaper, but also gives you complete freedom to choose from the entire film range.

Option 1: Lomography, the only manufacturer

Lomography has a de facto monopoly on factory-fresh 110 film. Since Fujifilm stopped production in 2009, there has been no other source:

€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

Scene from our Minox-8x11 workflow video, in the video from 2:40. Cutting works identically for the 110 format; same slitter family, just with a 16mm channel instead of a 9.2mm channel.

Disclaimer: We sell some of the products linked here ourselves.

This is the decisive advantage: There is hardly any ready-made 110 film available to buy. If you don't want to be limited to Lomography emulsions, and want to shoot Kodak Gold, Portra 400, HP5+, Tri-X, or CineStill 800T in 110 format, just as 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 slitter that precisely cuts 35mm or 120 roll film down to 16mm width:

• Portra 400, HP5+, Tri-X, Ektar, Delta 3200—anything is possible
• Exotic emulsions: CineStill 800T, Rollei Infrared, Fomapan 100
• 16mm motion picture film: Kodak 7222 (Double-X) is available in bulk rolls, but the perforations of the motion picture film extend into the image area
• Significantly cheaper: One Ilford HP5+ 35mm (~€7) yields 2 fills of ~82cm each

35mm → 110 film cutter (€39,95) · 120 → 110 film cutter (€59,95)

Cutting tip: Some emulsions (e.g. Ilford) are a little tougher to cut than others. Use a fresh, sharp blade and cut through slowly and evenly rather than forcing it with pressure. This produces the cleanest edges on stubborn films.

Target length and yield: 35mm vs. 120

A 110 film strip is approximately 78–80 cm long and yields 24 exposures. This is the target length to which you cut your strips, whether from 35mm or 120.

Whether you use 35mm or 120 roll film as your source format depends on which film stock you currently have available. Some emulsions are only available in 35mm, others only in 120, and our film cutters support both formats. 120 film has no perforations along the edges and therefore generally provides more yield:

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

Do you need backing paper?

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

• With backing paper (cassette with viewing window): Light protection, frame number visible. The backing paper confirms that the film is actually moving (you can see the counter advancing) and protects the back of the film from friction against the cassette housing. Recommended for color film, high ISO, and beginners.
• Without backing paper (closed cassette): Easier, faster. Loading must be done in the dark. Disadvantage: No visual feedback on whether the film is being transported correctly, and no frame counter, so you have to count yourself. For B&W and experienced users.

Our film recommendations for cutting your own film

 

 

3. What matters in a cassette

To load film, you need a 110 cassette. There are generally two ways to do this: modify an existing original cassette, or use a cassette specifically designed for reloading.

Method 1: Modify the original cassette (DIY)

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

• Mk1, without backing paper: Cut open the film chamber, insert a sleeve made from exposed film, and load a longer strip of film (more than 24 exposures possible). Disadvantage: No frame counter display.
• Mk2, with backing paper: Cut the cassette closer to the exposed film chamber and reuse the original backing paper. The frame counter works, with the standard 24 exposures.
• Mk3, completely open lid: The entire top is a removable lid, making loading easiest. Backing paper seals the gap by itself.

What to look out for in any cassette: Whether modified or new, light-tightness is essential. The original seam at the bottom of the cassette has no overlap, which is where most light leaks occur. Tape alone is not always enough (Bob Janes showed that exposed film used as a sleeve is not completely light-tight). Backing paper is the most reliable light protection.

Method 2: Reusable cassettes

Alternatively, there are cassettes specifically designed for reloading, such as our Ausgeknipst cassette. The advantages over the DIY modification:

• Take-up spool: No fiddling with loose film ends. Wind up the film, insert it, and you're done
• ISO break-off tab: Standardized notch that you can break off to signal the high ISO setting (400) to the camera. The lower setting varies by camera manufacturer, typically between ISO 64 and ISO 100 (some cameras used ISO 64 for Kodachrome, while others, like the Pentax Auto 110, used approx. ISO 80).
• Film transport compatibility: Break-off tab for cameras with a sprocket wheel (e.g. Agfamatic) and for the Pentax Auto 110 Super
• Two variants: With viewing window (backing paper) or closed (without)

110 cassette without backing paper (for 35mm film) (€29,95) · 110 cassette with backing paper (for 120 film) (€34,95)

Loading film: Step by step

Preparation (in daylight):

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

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

4. Wind the film onto the take-up spool: emulsion (matte side) facing inward
5. Insert the spool into the cassette, into the empty space in the feed chamber
6. Guide the film leader to the take-up spool, and attach it
7. Close the cassette + put it straight into the case

The end fold as a stop mechanism: Bob Janes recommends folding over and taping a crease at the end of the film. The double-folded film cannot leave the feed chamber; when the film advance stops, you know: the roll is full. For additional security, place a short piece of cocktail stick in the fold—the triple thickness prevents the end fold from pulling through more reliably. Especially useful when loading without backing paper if you don't have a frame counter.

 

 

4. What should you look out for when taking photos?

Film is more fun, photographing with the Pentax Auto 110: results and fun factor

The 110 format is less forgiving than 35mm, but anyone who knows its quirks can achieve 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, use flash only: Even ISO 400 rarely produces usable results in artificial light
• Overexpose rather than underexpose: +1 stop is safer than underexposure. Negative film handles overexposure well
• Sunny-16: At ISO 200, aperture f/16, shutter speed 1/200s in full sunlight

Watch out for parallax

110 cameras (except SLR models) have a separate viewfinder. For close-up subjects (<1m), the frame in the viewfinder does not match what is captured on film. Solution: Aim 10–20% higher than what you see.

Common beginner mistakes

1. Underexposure: The #1 mistake. Always use more light than you think
2. Camera shake: The small negative magnifies every camera movement
3. Incorrect ISO notch: Forgetting to adjust the notch on the cartridge
4. Loading in bright light: Even “just taking a quick look” is enough to cause light leaks
5. Incorrect film advance: With the Pentax, advance the lever twice, not once
6. Unrealistic expectations: 110 is not 35mm. The grain and softness are part of its charm

 

 

5. Have it developed or develop it yourself?

Developing 110 film works just like 35mm; you only need a reel that holds 16mm film.

Option 1: Send it to a lab

Labs that accept 110 film:

• Fotoimpex (Berlin): C-41 and black and white
• The Darkroom (USA): 110 specialist, C-41 and E-6

Not every lab accepts 110. Many labs do not have reels for 16mm / 110. Ask beforehand. Fotoimpex is one of the safest options in Germany.

Option 2: Develop it yourself

Scene from our Minox 8x11 workflow video, in the video from 6:40. Loading the reel and developing work the same way for the 110 format; the 110/16mm spiral uses the same mechanism in a standard Paterson or Jobo tank.

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

Also for 16mm motion-picture film: 110 Pocketfilm and 16mm motion-picture film use exactly the same film width (16mm). So if you own a Bolex H16, a Krasnogorsk K-3, an Arriflex 16ST, or another 16mm film camera and want to develop a test strip yourself, our reel will fit. For Minox 8×11 (9.5mm), there is a separate, narrower reel: Minox 9.5mm developing reel (SKU 1505p).

The actual development process is identical to 35mm: black and white just like C-41, same times, same temperatures. Only the reel is different.

110/16mm developing reel for Paterson, Jobo & AP (€29,95)

 

 

6. Comparing digitization methods

You have developed your 110 negatives; now you need to turn them into digital images. The 110 format (13×17mm) presents particular challenges because the negatives are so small.

Small negatives, big expectations

A 110 negative is only 13×17mm, less than a quarter the size of 35mm. High scan resolution alone stops producing additional detail beyond a certain point; eventually, you are only resolving film grain rather than image details. The combination of a good scan and fine-grain films/developers is crucial: FP4+ in Perceptol delivers significantly more usable detail than HP5+ in R09 at the same scan resolution. Still, you should use at least 4000 dpi optical resolution, and every speck of dust will be visible.

Realistically speaking: Those who choose the 110 format are not seeking maximum technical quality. Its charm lies in the compact system, the lo-fi look, and the creative limitation.

Comparison at a glance

Why camera scanning is superior for 110

• Significantly higher effective resolution than any affordable flatbed scanner
• Faster workflow: One negative per second is possible, with no repositioning required
• No scratches: Contactless; the film rests in the holder
• No DIY bridging: With dedicated film scanners, you have to fit 16mm film into 35mm holders, which is time-consuming and requires repositioning around the pressure rails
• Ideal for APS-C and m43 cameras: The smaller sensor captures the tiny 110 negative with more pixels than a full-frame sensor. Modern full-frame cameras with high megapixel counts (33+ MP) also deliver good results despite the stronger crop. Combine a macro lens with extension tubes for maximum magnification.
• Flexible Software: Negative Lab Pro, darktable, Grain2Pixel

Andrew Long from the United Kingdom wrote to us about camera scanning: “The idea behind the 110 film holder for scanning is really good — Speed and workflow without damaging the negatives.“ (personal correspondence)

Film Scanner 110 MK2: Modular film holder, magnetic (€59,95) · Film holder for Epson V500, V550, V600 (110 + 35mm + 120) (from €34,95)

 

 

7. Digitizing with the Ausgeknipst Setup

Our scanner system consists of individual layers that build on one another. You only buy what you need. No flatbed scanner comes close. Camera scanning with a dedicated film holder delivers the best results for 110. Clearly.

The complete system at a glance

Scene from our Minox-8x11 workflow video, in the video from 8:38. This is what the modular scanning system looks like in action; for 110, use the same setup with the 110 film holder instead of the 8x11 holder.

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

• Copy Stand MK2 (SKU 1602b): 60cm aluminum profile, CNC mount, 3/8" thread, fast-lock clamps.
• CS-LITE + CSL Adapter (SKU 1725v + 1664p): CRI 97+ LED and light-tight adapter for even 16mm illumination.
• Film Scanner 110 MK2 (SKU 1652b): 16mm channel, S-curve, 4 neodymium magnets, matte black.
• Hood S (Mini) (SKU 1661p): Lens hood with extension tubes that prevents lens flare.

Workflow: From Negative to Digital Image

1. Build the setup: Copy stand, mount the camera, place CS-LITE under the film holder
2. Set up the camera: Manual focus, ISO 100, aperture f/5.6–f/8
3. Load film: Slide 110 film strips into the 16mm channel
4. Focus: Live View × 10, focus on the film grain
5. Trigger: One frame per click, then advance the film
6. Software inversion: Invert RAW files in Negative Lab Pro, darktable, or Grain2Pixel

You only need to set the focus once: Thanks to the S-curve in the scanner, the film is always at exactly the same height. Focus once on the film grain, then scan strip by strip without refocusing.

Recommended Macro Lenses

Scanning software for negative inversion

 

 

3 questions, personalized recommendation, in under 60 seconds. Go to Film Scanner Finder.

All components in the layered setup, clickable with direct shop links. Open diagram.

Related Guides

• Minox 8x11 Submin Guide: Cutting film, filling cartridges, developing, and scanning, the companion tutorial for the 9.2mm subminiature format, with nearly the same workflow and the same tool family.
• 110 Pocketfilm: The best cameras for the miniature format. Buying advice if you are still looking for the right camera.
• How to properly cut 110-format film and fill cartridges. Detailed tips for cutting without perforation.

Guides, tips, and technical background on analog photography and film scanning. Go to blog overview.