For the most detailed information on using subminiature cameras visit the link page. There have been however a number of tips posted in the usenet, list and forums that are not otherwise available.
Mark Hahn's website includes an article on repairing a slipping film advance on a Pentax 110. It sounds like a fairly simple repair for a fairly common problem. http://www.geocities.com/markhahn2000/pentax_fix.html
One thing that you do have to remember is that factory loaded film is perforated to control the frame spacing and many cameras require these perforations to work correctly, but fortunately for us, most of the best 110 cameras do not require these perforations; notably Pentax 110 SLR's, Rollei A/E110's as well as the huge Minolta 110 SLR's. Just separate the 110 cassette at the seams with an sharp knife. Be very careful. If you don't chew the edges up, you can re-load it with 16mm film (re-use the backing paper). See http://www.geocities.com/markhahn2000/110_reload.htm for more details.
I've experimented and found you can load 110 cassettes. But due to the perforations, the only camera I've been able to use consistently well is the Minolta 110 zoom. A copy of a letter to the subminiature times with illustrations can be found in Subminiature Times #95. In short I load unperforated Fuji Hsu. I take a used 110 cassette. Carefully split along the seam with an xacto knife; then remove the old film (have it processed). After practice in the light , I measure a length of film about 1 to 2 inches shorter than the backing paper. the roll the backing paper and film up in to the supply side. The backing paper is still attached to the take up spool. Coil the start of the film with the backing paper into the take up spool. There is no need for tape, the backing paper pulls the film along. I then close the cassette with thin tape along the seams.( I've found it need not be black. the cassette is light tight) I advance my Minolta from number to number, since there are no perforations to stop advancement. I hope this explanation help; pictures help clarify the above. It took me about an 1 1/2 hours and about six 110 cassette to get it right. Thomas J Bosma Submini-L April 1997
There's much lamenting and hand wringing about the dearth of 110 film choices. But lets consider for a moment what we have to work with. ISO200 color print film has enough latitude to give good results a stop or stop and a half either way. You can shoot it at 100 or 400 no problem. Better quality newer cameras with the side cartridge feeler or micro-switch will see the 200 as 100 and overexpose one stop, good deal usually for color print film. Trim the side rib and the camera sees a 400 cartridge and gives you faster shutter speed and maybe some depth of field benefit. On older cameras like the Canon ED, Kodak Pocket 50, 60 et al. will not recognize the 400 but by notching out where the little switch feeler is below the film gate you can make the camera think its got ASA 64 or so like the old Kodachrome they used to sell for these. That's still within the latitude of the film.
Need black and white? Shoot the humble ISO 200 color print film, have the film processed but not printed and bring it home and make B&W prints on Panalure paper or just use regular B&W paper and jockey around with the contrast filters to get best results. Works pretty well, probably will not be Ansel Adams quality B&W but who are we kidding here?
Want to process your own film? Go ahead with C41 of course but you can also "cross process" the Color film in B&W chemistry. I have not done this personally but my references claim to process as if ISO200 Plus-X and you will end up with a printable B&W negative albeit with an orange base tint.
You get very low contrast negatives and you still have the orange mask. Look at the mask. It's about the color of a #1 filter. You cannot come appreciably higher in contrast on VC paper than about a #2. Get the film processed in C41 at the local minilab and print on Panalure (I know, you don't want to print in total darkness), or on a good VC paper WITHOUT a filter. To fix my mistake I had to go out and by a package of graded paper. Peter Zimmerman
How about slides? Make prints in the normal way then dupe
them with a 35mm camera setup. How about making Kodacolor II work like Techpan?
...........I haven't figured that permutation out yet. Film choice is only a
handicap in 110 work if you fixate on what you can't get. Its amazing how many
holes you can dig with the same shovel, if its the only shovel you own......
(Eastern wisdom if I ever heard it)
This weekend I have seen Kodak 200 (in 12 and 24)and 400, Konica VX200, Fuji 200, Walgreen, Target and King Super 200 all probably the same stuff. I have not seen the Polaroid 200 or the Scotch200 in a while. We are a long way from the demise of 110 film. I'll bet one of my Pocket 60s that it will still be around in ten years. Carl Turner Submini-L April 1997
Kodak produced a "nothing guaranteed" suggestion on how to
salvage color negatives accidentally processed in B & W chemistries. Don't know
how this will work on today's film.
1. Wash 15 minutes @73-77 F
2. Bleach in Kodak bleach (they reference C-22 ) 8 minutes @73-77F
3. Expose to photoflood @ 1 foot distance for 15 seconds each side.
4. For Kodacolor II and Vericolor "process normally in Kodak Flexicolor (process c-41)"
Charles Wong Submini-L April 1997
Last updated 13th January 2003