Pentax Auto 110 – My First Experiences

By Tony Warren

This subminGAS is a dangerous thing!

I was recently tempted by a Pentax Auto 110, being sold locally for not much more than ‘spares or repair” money and described as ‘collectible’ so I wasn’t expecting too much. I also found a 50mm tele with part of its filter ring missing, an example of the brittle plastic this camera apparently suffers from. Just the sort of needy things that I enjoy coaxing images out of.

When I bought a very inexpensive Minolta 110 a while back to try out the format little did I realise it would lead to three more cameras, the modification of one, several cartridges and a developing tank spiral, and other stuff like the film slitter I made. So this latest chapter may just be the final one, having reached a stage where the only remaining things likely to temp me would be the Minolta 110 SLRs or the CRF Canon 110s, though I don’t expect to find any I can afford.

Certainly everything seemed OK with the Pentax but the batteries had obviously been leaking badly at some point and was still a little dusty so I began to brush it out. This caused the collapse of some of the plastic between the battery and cartridge compartments, an example along with the 50mm’s filter ring, of the brittle nature of some of the plastic used. There are some cracks in the plastic also, likely the result of over-tightening the screws. Things had been made worse by someone using an adhesive that had melted other bits of the plastic in an attempt at repair. Nevertheless, everything seemed to work with the exception of the film speed sensing feeler. This was clearly not connected to anything and just flopped in its groove so I had to decide what film speed was being used by the metering system because I could hear that the shutter was operating at different speeds with varying light levels.

Damage to the battery compartment and adjacent structure.
Damage to the battery compartment and adjacent structure.

Helpfully, the Pentax’s viewfinder LED changes from yellow to green when 1/30 is reached. Checking against a handheld meter showed that this exposure point corresponds to 1/30 at f2.8, the programmed aperture, and ISO 80. Listening to the shutter the speed at this point sounded to be 1/30ish so I was confident to put a film through at ISO 80 or so.

Exposure program
Exposure program

The meter is programmed between 1 second and 1/750 sec and between f2.8 and f13.5. The aperture remains at f2.8 from 1 sec. to 1/30, speed and aperture then proceeding in tandem above this.

I made a plastic divider to support the battery contacts and covered the window in the camera back since the film I use has no backing paper and lined the cartridge with a length of backing paper from an earlier film.

The marks on the 18mm lens cleaned up fairly well but one stubbornly refused to respond so a tiny touch of matt black will be called for if any flare shows itself. Apart from the filter ring, the 50mm seems to be in good working order.

The camera in question.

The Pentax Auto 110 camera.
The Pentax Auto 110 camera.

It really is a small instrument, only a little longer than a 110cartridge and justifiably claimed to be the world’s smallest SLR. Being a Pentax it is very well made, a lot of plastic of course but very well constructed apart from the brittle components mentioned. Form factor is SLR-like with a pentaprism viewfinder that is commendably bright with a quite generous horizontal split image spot in the centre. I found it a little trickier to focus than I expected but it became easier with a good deal of concentration. Despite the brightness, the split image spot is somehow slightly indistinct and less easy to make out than, say, a coupled rangefinder’s coincident images. Might be my eyesight of course.

Uncluttered finder with the LED visible bottom right.
Uncluttered finder with the LED visible bottom right.
Finder and coverage diagram.
Finder and coverage diagram.

Another problem I felt I was going to have is that, because I re-use cartridges loaded with 16mm strips slit down from 120 film, this uses the whole of the image opening at the gate. The finder is only 87% coverage for the standard 13 x 17 mm dimensions dictated by commercial film. Using the full 13.5 x 19 mm available means it will have even less coverage so very tight framing will be needed to avoid too much cropping.

Wind on, shutter release and lens mounting are all standard, wind on being double stroke. Film loading is standard 110 drop in and the metering is programmed with no indication of settings except for the yellow/green LED or any manual control. The shutter and aperture are combined and placed in the body immediately behind the lens. The scissors-style shutter opens only far enough to produce the (square) aperture set by the meter so the lenses only have a focus helical and are very small as a result.

Combined shutter and aperture.
Combined shutter and aperture.
Size comparison of the lenses, left to right, !7mm on 35mm, 18mm Pentax, 50mm Pentax, 55mm on 35mm.
Size comparison of the lenses, left to right, !7mm on 35mm, 18mm Pentax, 50mm Pentax, 55mm on 35mm.

The body has flash connections on the top plate and a tripod socket and winder connections on the base. The camera was originally sold as a set with various accessories included as standard.

All the batteries needed are modern, mercury free types. The camera takes two A76 button types.

Testing it all out

As mentioned above, I had established that film speed was limited to ISO 80. Running a cartridge loaded with backing paper confirmed that the wind on is working and the shutter fires after each double stroke of the lever wind. The Pentax has a single feeler that engages with commercial film’s single perforation and only controls spacing and alignment with the film’s preprinted frame.

The single feeler and the shiny plastic the cause of the lighter strips visible on the examples below.
The single feeler and the shiny plastic the cause of the lighter strips visible on the examples below.

I don’t need to do anything for my purposes because the feeler that mates with the sprocket hole of 110 film only controls spacing, so un-perforated film just winds on each frame a little further. I found this gives 19 frames as compared to the 24 from a commercial film.

In use

For my first film, I used my last length of Rollei Superpan 200 developed in Rodinal 1:50 at box speed which is a touch of overdevelopment. The results are good but the camera seems to be suffering from some of the wind-on problems I have read about. I managed 18 frames of which 6 were blanks. From my research, the wind-on incorporates a kind of slipping clutch that must weakens over time and further strokes are needed to cock the shutter. Because I don’t use the framing control of sprockets, film is also wound on loosing frames as a result.

Light leakage was minimal but still intrudes on some frames. And the shiny plastic around the film gate has produced a light band along the edge of many negatives. This needs matting down. Also, the wide angle 18mm lens gives some very slight vignetting.

Despite all its faults, however, this little camera is a delight to use. The metering seems well sorted and produced some good negs despite the lack of any manual control. The finder and shutter release are definitely up to SLR standard.

I took the Cenotaph in Dunedin’s Queen’s Garden and the nearby Chinese Gardens entrance arch as the subjects for this first outing.

In conclusion.

I suppose the attraction of this small format comes out of the challenge to wring some decent results from the materials available. This has always been the challenge of the practice we now refer to as “analogue photography”. When it was simply called “photography” the process was very demanding to carry out really well, whatever the format being used. The Zone System and mastering colour printing in the early days were classic if extreme examples of what it could take back then.

If anything, pursuing it now is even more rewarding and demonstrates the huge advances that have been made in materials, equipment and processing methods, chemical and digital, all contributing to the results we can produce today.

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About The Author

By Tony Warren
In my 60 or so years of serious involvement in photography I have seen the demise of the viewfinder, the rise of the SLR and the eclipse of them all with the meteoric development of the digital camera. Through it all, however, and above all else, the image is what it is all about so I now use film alongside digital. Whatever is the most appropriate or practical. My contributions will hopefully be useful for anyone interested in using film and also how a died-in-the-wool antique like me is continuing his life-long addiction in the digital age, using both platforms. The major benefit of an extended retirement is that I can spend most of my time nowadays with photography and writing about it.
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Comments

Bill Watts on Pentax Auto 110 – My First Experiences

Comment posted: 05/07/2024

Nice article, I have a number of Pentax Auto 110s and Auto 110 Supers produced later in the day. I prefer the Supers in use as they are single wind on and have a backlight switch to overexpose by 1 stop.
I have 3 complete boxed sets in the Pentax flight cases and the get occasional use. The plastic does get brittle and was even a problem when new with the battery door clips on the winders failing a lot.
One of the biggest improvements is the film stock. Even Lomo Tiger has less grain when processed than films of the 1980's Although Fuji Superia 200 was always good - I suppose overexposing by about a stop also helps a little. The lenses are capable of resolving detail than restrictions imposed by the film grain can record, using slide film in the camera gave great results, particularly with reloaded Velvia 100.
Great little cameras, however, I think that despite being proper system cameras the Minolta Auto Zoom Mk I and MkII take the crown as they had not only zoom lenses but + and - 2 stops of exposure compensation allowing the correct exposure of reloaded films from 64 to 1600ISO.
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Bob Janes replied:

Comment posted: 05/07/2024

For those interested in exploring the resolving power of the little Pentax 110 lenses, they can be adapted to digital - wide open only of course, but there are adapters available for both E-Mount (and possibly other mirrorless mounts) and for m43 (which is closer to the 110 image circle). There was also a zoom for the Pentaxes too (although I've never got my hands on one).

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Martin replied:

Comment posted: 05/07/2024

Bill, I fully agree on the Minolta Auto Zoom and Auto Zoom Mk. 2. I prefer the both over the Pentax and the Mk. 2 over the first model because of the handling.

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Tony Warren replied:

Comment posted: 05/07/2024

Thanks Bill. I guess it was early days for plastics when these were made or maybe learning the limits of the material, very slender components appearing to be most fragile. Designed as though it was metal I would guess. Lomo Tiger is a very good film as you say and I also overexpose colour negative a little. I am certain it improves the image transfer into the dye layer. And I agree with you how good these very small lenses are.

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Bob Janes on Pentax Auto 110 – My First Experiences

Comment posted: 05/07/2024

Insightful article with some lovely shots!
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Tony Warren replied:

Comment posted: 05/07/2024

Thanks Bob. It is a very intriguing and satisfying path your own artricles have led me down!

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Martin on Pentax Auto 110 – My First Experiences

Comment posted: 05/07/2024

Thanks, Tony for your insights.
I want to add just one thing: These are really tiny smaller that they look even in the comparison shots. So tiny that I don't use mine without the winder attached which gives it a better grip, almost good ;-) Regarding the lenses people should think about holding them with thumb and one finger insted of a hand. More 8mm movie camera size that anything still photography.
But I like mine and it's easy to carry around. Did I mention that it is the size of a Mars/Milky Way bar but does better in the sun?
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Tony Warren replied:

Comment posted: 05/07/2024

Thank you for that Martin. My memories of 8mm cine however are of rather soft images, tough that could have been more a result of variable registration than lens quality. I have a battered old Super 8 camera so I will have to try to get the lens out to investigate.

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Myles on Pentax Auto 110 – My First Experiences

Comment posted: 05/07/2024

Well done Tony for coaxing life out of that somewhat fragile example of a Pentax Auto 110! It produces some fine results as well. I like my sub-minis (Minox and Minolts 16's) but I'm not brave enough to try cutting film for 110s with their fiddly registration notches. Your 110/16mm slitter looks great too, I must try and build something similar from an old 120 camera. As always, a pleasure to read of your sub-mini adventures.
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Tony Warren replied:

Comment posted: 05/07/2024

Many thanks Miles. It is a rewarding endeavour I must say and more so if it is appreciated. Thanks again.

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Ibraar Hussain on Pentax Auto 110 – My First Experiences

Comment posted: 05/07/2024

Excellent review and experience
Wandering one of these and you’ve tempted me again!
Lovely lovely photography - the tones are exquisite especially in the first one
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Tony Warren replied:

Comment posted: 05/07/2024

Thank you Ibraar. I can recommend the experience and, as Neal says, Orca is an excellent film and Tiger likewise in my experience if you don't want to fiddle around like me. You get out more than I do I think. I like to think I am being environmentally responsible though :-) cutting down on materials.

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Neal Wellons on Pentax Auto 110 – My First Experiences

Comment posted: 05/07/2024

Wow Tony, I am really impressed with how you brought this challenged camera to life. You are getting great shots to reward you. I started to fiddle with split film as I already had some I had done for my Minolta 16 but never got around to it after I tried Lomo Orca. It's is now my go-to 110 film.
Your article has encouraged me to get my auto 110 off the shelf and load it as I have been using my rejuvenated Rollei A110 for a while and even tried a few rolls in my Holga micro 110 collection.

.
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Tony Warren replied:

Comment posted: 05/07/2024

Thank you Neal. It must be the Yorkshireman in me that gives me so much satisfaction from this tiny format as well as the satisfaction the results can bring. I agree with you about Orca. It is a very competent emulsion and one I would use also if I hadn't gotten into the film slitter. Bob's recent review of the Rollei shows it to be an excellent camera, the lens looks to be one of the best. The Pentax's SLR design gives it the advantage at close quarters but I prefer the viewfinder on my Minoltas for everything else. I would be interested to read about your Holga and its results.

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Gary Smith on Pentax Auto 110 – My First Experiences

Comment posted: 05/07/2024

The battery compartment looked a mess! Your resulting shots look great! You really have patience that is beyond me is your dedication to restorations. Who would have guessed for the external condition that the inside needed so much help. Thanks for your article Tony but I just don't see myself going down a 110 path.
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Tony Warren replied:

Comment posted: 05/07/2024

Thanks Gary but you don't need patience, that's for tinkerers like me. At my age that is quite an attraction I can tell you! And the Lomo films are quite a viable option. You won't get even close to your Leica results of course but they are not that bad, just have a different appeal. I have one or two more less than pristine examples and they prove the simple fact that basically a light tight box with a lens at one ens and film at the other is all you need. Everything else is just luxury.

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Paul Quellin on Pentax Auto 110 – My First Experiences

Comment posted: 05/07/2024

Interesting and detailed read again Tony. Your articles on 110 always get me wondering about trying to find one. I remember the little Pentax and I have a vague recollection of a taking some images of a small model Yamaha RD350LC with my Olympus Trip whilst a mate also took some on a Pentax 110... we were just messing around with scale. The images are a credit to your work and the little camera, especially the picture of the stone lion. Thanks.
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Tony Warren replied:

Comment posted: 05/07/2024

Many thanks Paul. The Trip was a pretty basic model so it would have been an interesting comparison. The film would have the most impact on quality if it was some time ago I would imagine. If you do try one out, the films from Lomography are not at all bad.

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Alexander Seidler on Pentax Auto 110 – My First Experiences

Comment posted: 07/07/2024

Nice shots tony !
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Tony Warren replied:

Comment posted: 07/07/2024

Thanks Alexander.

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davesurrey on Pentax Auto 110 – My First Experiences

Comment posted: 09/07/2024

An excellent article Tony. Thanks.

The Pentax Auto 110 holds a special place in my photographic heart as on my many trips abroad in the 70s onwards I couldn’t take my OM2 gear but resorted to the 110 for capturing memories. Being so compact it was so easy to take it when space was at a premium.

Today I have several Pentax 110s, plus Safari and Super versions along with every lens they made including the zoom and pan-focus ones.

The drawback was (and still is) trying to find somewhere that would process the film well, and not treat it with distain as if it came from a crappy, cheap, instamatic-type camera.

I also have a Minolta 110 Mark II, a Kodak Ektramax, Canon 110ED, Minolta Autopak 460Tx and a Voigtlander Vitoret 110 but the Pentax is the clear winner for me being a system camera.
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Tony Warren replied:

Comment posted: 09/07/2024

Thank you Dave. I can see why the format appeals to you and an impressive collection. My limited experience of processing down here in NZ has been positive, but only with Lomo Tiger. I process my own monochrome. Have you tried Analogue Wonderland (https://analoguewonderland.co.uk) who are dedicated film people?

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davesurrey replied:

Comment posted: 09/07/2024

Yes I've been using Analogue Wonderland for 110 processing and find them very good.

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