Pentax Auto 110 | FUJI X WEEKLY

Bargain or Bust? The price of a unique experience

In 1978, Pentax surprised the photographic world with the Auto 110, a tiny interchangeable-lens SLR that used 110 film cartridges. It was the smallest ILC ever made. For only $249, you got the body, a 24mm f/2.8 lens, a case, and a strap. Pentax discontinued the Auto 110 in 1986.

The concept of this camera was portability and simplicity. It was the smallest and lightest SLR ever made—probably the only one that’s pocketable. It was one of the most simple SLRs to operate. In order to accomplish these goals, Pentax built it around the 110 film format, which was considered subpar and only for amateurs. And that was the paradox: interchangeable-lens SLRs were for enthusiasts and pros, while 110 film was not.

Serious photographers would never, ever use 110 film. The camera was fully auto except for focus; at the time, anything auto was largely considered for novices, as “real photographers” used full manual. Interchangeable-lens SLR cameras were the standard for hobbyists and professionals. The Pentax Auto 110 occupied a weird space of being too robust and expensive for the uninitiated, yet too lackluster for anyone remotely serious. Who would buy it? While plenty of photographers scoffed at the Pentax Auto 110, it sold fairly well, and Pentax continued to make it for eight years—a pretty long run. So how did Pentax pull it off? Why was the camera not a flop?

There is a market for compact, unique, fun, less-serious cameras. The Pentax Auto 110 was able to get the most out of the small film format, delivering image quality that was plenty good enough for everyday moments. No, the pictures weren’t going to grace the cover of magazines or hang on museum walls, but they could be placed into photo albums, or in an 8″x10″ frame and hung in the hallway. It was so small and lightweight that the camera didn’t get in the way, and could be easily carried everywhere. It was simple enough to operate that most anyone could do it, as the complications of larger SLRs were removed. At the very least, it was a conversation starter (still is).

The Auto 110 was more affordable than other SLRs, at only $249. The Canon A-1, released the same year, was $625 (with a 50mm lens). Pentax released the iconic K1000 two years prior—in 1976—with an MSRP of $299 (with a 50mm lens), so for just $50 more one could get a much more respectable camera. It’s pretty interestingly if you adjust these numbers for inflation: $249 in 1978 is $1,230 today, $299 is $1,477, and $625 is $3,087! None of these cameras were cheap, not even the Auto 110.

Which brings me to what I want to discuss today, and that’s the cost of the Fujifilm X half. Unless something unexpected happens, this will be the last post about the new camera until after I get back from the B&H BILD Expo next month, so if you are tired of hearing about it, just bear with me a moment—I promise that we’ll get to other things. Let’s dive in!

*Bench with a View* – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Pacific Blues Recipe

Probably the biggest criticism of the X half is the price. $850 seems like a lot of money, because it is. The camera is a little expensive. I’ve seen plenty of people say that if it was $400 or $500, that would be the right cost. If it was 2015, I might agree, but there’s been some significant inflation since then. $500 in 2015 is $680 today, which is what I estimate would be a fair price for this camera (I said $700, but close enough). The reality is that things are expensive in 2025. And if you consider that the X half is probably the first to be adjusted for the tariffs, I think it’s more of a foreshadowing of what’s to come across the entire camera market in the coming months.

Yet the X half is still much cheaper—$380 cheaper—than the Pentax Auto 110 was in 1978, accounting for inflation. I knew the late-1970’s were rough economically, but I didn’t realize just how expensive things were. While there is plenty that’s divergent, I see some parallels between the Auto 110 and the X half, namely portability, simplicity, and casual fun. If the X half was transported back in time to 1978, it would sell for $172, which would have been considered a good bargain for the time; however, in 2025, $850 is a lot of money for what it is. Even as prices seem to skyrocket, it’s still much better than it was in the late-1970’s.

So where does that leave us? I think it’s good to have a healthy historical perspective, but that doesn’t help the wallet feel any less empty. I don’t know the future, but I think it’s unlikely that the tariffs are fully settled, and as things fall into place over the coming months, the opportunity to lower the price is a strong possibility. If the camera sells really well, and the backorder list is long, even if Fujifilm could drop the price, they would be silly to do so (but who knows, maybe they will). I don’t see the historic X100VI demand, but all indications are that preorder sales have been strong. I believe that the camera will do quite well for Fujifilm. Time will tell, though.

If you can accept the X half for what it is, and forgive it for not being what it’s not, it could be a really fun camera for capturing everyday moments. It’s not a serious camera for serious photography, yet it is priced nearly as if it is—just like the Pentax Auto 110 was. If you think you’d enjoy it, then consider grabbing one at some point; if not, it’s very easy to pass, and consider a more advanced model instead—you can get a Fujifilm X-T30 II with a lens today for less than a Pentax K1000 with a lens cost in the late-1970’s, adjusting for inflation. There are plenty of options for those that want an enthusiast or pro camera. The X half is one of a kind—the most unique digital camera ever made—and as such, it’s not going to be for everyone, and that’s ok.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X half in black:
Amazon, B&H, Moment
Fujifilm X half in charcoal:
Amazon, B&H, Moment
Fujifilm X half in silver:
Amazon, B&H, Moment

Photographing a ghost town with the World’s Smallest lens!!

Posted on October 24, 2023 by Ritchie Roesch

*Fujifilm X-T5 + Pentax-110 24mm + 1970’s Summer Recipe*

I just published a new video to the Fuji X Weekly YouTube channel!

Just in time for Halloween, this video is about using the world’s smallest interchangeable lens—the Pentax-110 24mm f/2.8—on my Fujifilm X-T5 camera, and photographing a haunted ghost town in the Arizona desert!

I’ve included it below, so check it out!

The four Film Simulation Recipes that I used are 1970’s Summer, Fujicolor Natura 1600, Kodak Ektachrome E100VS v1, and Agfachrome RS 100. Find all of these Recipes plus hundreds more in the Fuji X Weekly App! The adapter is a Fotasy Pentax 110 to Fujifilm X, which is really quite affordable. The lens, as I said, is the tiny Pentax-110 24mm, which is comically small when attached to my Fujifilm X-T5.

I hope that you enjoy the video!

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T5 in black: Amazon B&H Moment
Fujifilm X-T5 in silver: Amazon B&H Moment

A Better Way To Get a Retro Film Look

Posted on April 11, 2023 by Ritchie Roesch

*Rodeo Cold* – Cave Creek, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100

Is there a better way to get a retro film look? In my opinion, the answer is yes!

Notice that I didn’t say the best way, only a better way. The best way to get a retro film look is to shoot actual analog film on a retro film camera; however, film is expensive and the process inconvenient. Digital is much more convenient, but digital images inherently don’t resemble film—one must manipulate them. There are numerous programs, plugins, and presets that will provide you with a film look without a lot of fuss, but it does require some level of post-processing; editing pictures is a good way to get a retro film look, but a couple downsides are 1) you must have access to (and pay for) the software and know how to use it and 2) it takes time to edit all of your pictures. There is another way, which I believe is a better way.

It’s very simple: shoot JPEGs on Fujifilm cameras programmed with analog-like Film Simulation Recipes and use vintage lenses. I say that this is a better way because you can achieve a retro film look without the hassle of picture manipulation. Better, of course, is subjective, but this is an increasingly popular method, largely because more and more photographers are deciding that it is indeed a better way for them.

*Arizona Honeysuckles* – Buckeye, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100

Fujifilm cameras are an important ingredient to this because, when programming their digital output, Fujifilm utilized their film department to assist with the image rendering. In other words, using their vast film experience, they set out to infuse an analog aesthetic into their digital photographs. Film Simulation Recipes take it a step further by fine-tuning the camera settings to better replicate specific film stocks and/or processes or mimicking certain looks. There are nearly 300 Recipes on the Fuji X Weekly App (available for Android and Apple), so be sure to download it if it’s not already on your phone. You can do pretty much the same thing as Recipes with software, but it will not 100% match the straight-out-of-camera images and you will have to work for it (at least a little), while camera-made JPEGs are good-to-go without editing (the work is already done for you). This is a paradigm shift that can dramatically transform your workflow by drastically simplifying it, which saves you a lot of time, hassle, and potentially money, while simultaneously making photography more fun. Like I said: better.

The final ingredient is the glass. Modern lenses are often precision engineered, making them nearly flawless. That’s great if you want a digital look, but if you want a retro film look you should employ the same lenses that were used to shoot film, which often have flaws that give them character—an important aspect of the analog aesthetic. Find some old glass and shoot through it! You’ll need an adapter—the exact one depends on the mount of the lens—and set the camera to “Shoot Without Lens” in the Menu settings. These lenses are manual focus, which can be tricky at first, but thankfully Fujifilm provides you with some excellent tools to assist with it, making manual focus much easier and more enjoyable. Alternatively, you could use inexpensive third-party lenses, which often have similar characteristics to vintage lenses, and you won’t need a special adapter.

For the pictures in this article, I used a Fujifilm X-T5 programed with my AgfaChrome RS 100 Film Simulation Recipe shot through various tiny Pentax-110 lenses. The straight-out-of-camera results are very analog-like, and could probably pass as actual film photographs if I didn’t provide any background information. You’re not likely to think that these are out-of-camera pictures from a modern camera. If you weren’t convinced that they’re film, you’d likely assume some post-processing was done to make them appear film-like, yet they’re unedited. In any event, if you want a better way to get a retro film look, use Fujifilm cameras programmed with Film Simulation Recipes and shoot through vintage lenses. Simple. Easy. Convincing. Fun.

*Colorful Wheel* – Vulture City, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100

*Turn Signal* – Cave Creek, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100

*Rockshop* – Rock Springs, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100

*Out the Upstairs Window* – Rock Springs, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100

*Pie* – Rock Springs, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100

*Kokopelli* – Rock Springs, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100

*Fuzzy* – New River, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100

*Yellow* – New River, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100

*Desert Spring* – New River, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100

*Two Cholla* – New River, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100

*Spring Lupine* – New River, AZ – Fujifilm X-T5 & Pentax-110 50mm – AgfaChrome RS 100

*Purple Lupine* – New River, AZ – Fujifilm X-T5 & Pentax-110 50mm – AgfaChrome RS 100

*Yellow Spring* – New River, AZ – Fujifilm X-T5 & Pentax-110 50mm – AgfaChrome RS 100

*Blossoms Among Ocotillos* – Vulture City, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T5 in black: Amazon B&H Moment
Fujifilm X-T5 in silver: Amazon B&H Moment

World’s Smallest SLR: Pentax Auto 110 + Adapting Tiny Lenses to Fujifilm X Cameras

Posted on May 20, 2020 by Ritchie Roesch

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The Pentax Auto 110 is the smallest interchangeable-lens single-lens-reflex camera ever produced. Never heard of it? That’s OK, I hadn’t either until a few weeks ago. This little camera was introduced in 1978, and the Pentax Auto 110 system was manufactured until the mid-1980’s. In all, there were two SLRs and six lenses made by Pentax, plus several accessories, so this was indeed a complete camera system.

The Pentax Auto 110 camera is extraordinarily tiny! It fits into the palm of my hand, and looks more like a toy than a real camera. You might think that it was intended for kids, but it wasn’t. What allows this camera to be so small is that it uses 110 film, which is quite a bit smaller than 35mm film. In fact, the frame is similar in size to a Micro 4/3 sensor. If you aren’t familiar, 110 film comes in a cartridge that’s easy to load and unload, designed for the novice. The tiny film allowed Pentax to design an extraordinarily small camera system.

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Kodak introduced 110 film in the early 1970’s. They didn’t intend for it to be for serious photographers, and only made cheap entry-level point-and-shoot cameras for it. Kodak never figured that anyone who had more than a basic understanding of photography would ever be interested in using 110 film. It was great for those who knew very little about photography, those who valued simplicity over quality. Pentax, on the other hand, saw an opportunity to create a miniature interchangeable-lens camera aimed at a more advanced user. Perhaps the compact size of the gear would be enough for photographers to overlook the inferior film format.

The Pentax Auto 110 was only moderately successful. It sold enough copies for Pentax to continue to market the system for seven or eight years. The first camera, the Auto 110, was replaced by the slightly improved Auto 110 Super in 1982. Initially Pentax made three lenses for the camera, all very tiny, and in the early 1980’s they introduced three additional small lenses. As the name implies, the camera was fully automatic, except for focus, which was manual. Around 1985 the system was discontinued, and not long afterwards forgotten.

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Two things gave the Pentax Auto 110 camera new life in recent years: the lomography movement and the ability to use old lenses on new cameras via adapters. As 110 film became less and less popular, it was discontinued altogether by major manufacturers. Around 10 years ago Lomography stepped in and began selling it, making 110 film somewhat trendy, which increased the popularity of cameras like the Pentax Auto 110. Because 110 film is similar in size to Micro 4/3 sensors, the Asahi lenses made for the Pentax 110 Auto became in-demand for use with Olympus and Panasonic MFT cameras.

When I saw the little lenses, I wondered if they could be adapted to Fujifilm X cameras. Could I even mount these tiny lenses to my X-T30 and X-T1? A quick search revealed that Fotasy makes an inexpensive Pentax 110 to Fujifilm X adapter. But would it work? Would the lenses cover the frame? After all, APS-C sensors are larger than a 110 film frame. Are the lenses any good? I wasn’t sure the answer to these questions, but I gave it a shot and purchased an adapter and a Pentax Auto 110 camera with three lenses.

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These three lenses, which are 18mm, 24mm and 50mm, all have an aperture fixed at f/2.8. You cannot stop down. It’s f/2.8 and be there! They are manual focus only. They’re pretty darn small, much smaller than any APS-C or full-frame lens that I’ve ever used! If you want something small and lightweight, these are the lenses for you! They’re absurdly and almost comically small when mounted to a Fujifilm X camera. The smallest of the three is the 24mm, which is likely the littlest lens in the world that you can attach to a Fujifilm camera.

I gave these lenses a chance. I attached them to my Fujifilm camera and went out to shoot. I wanted to put them to the test. One thing that stood out to me is that these lenses make the camera feel lighter and smaller, because it is! Even the largest, the 50mm, is smaller than other lenses I’ve used before. You can have one lens on the camera, plus two in a snack-size ziplock bag in your pocket, and you’ve got a three-lens kit. This setup is good for travel because it is out of the way, with the two spare lenses taking up almost no space in your pocket.

18mm

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The Asahi Pentax 110 18mm f/2.8 was the lens that I was most excited about. I thought, of them all, this one has the most potential to be useful. Because of the fixed aperture, I knew that depth-of-field would be narrow on all of the lenses, but it would be largest on this lens because of its wide focal-length, which is full-frame equivalent to 27mm on Fujifilm X cameras. The further towards infinity that you focus, the larger the depth-of-field becomes. When focused at the close end, depth-of-field is indeed small, and I was shocked by just how good bokeh (the quality of the out-of-focus portion of the image) is on this lens.

Surprisingly, this 18mm has good coverage on the APS-C sensor. There’s some pronounced vignetting and corner softness, which you can easily crop out or leave for artistic effect. Sharpness is good at the center, but the lens becomes less sharp as you move away from the center. There’s some obvious chromatic aberrations and highlights tend to have an Orton-ish glow. This lens might be good for “dreamy” pictures. Overall, I didn’t like the 18mm nearly as much as I thought I might, and I didn’t use it as often as the other two lenses.

Trees by a Lake – Farmington, UT – Fujifilm X-T1 & Asahi 110 18mm f/2.8

Seed Pods – Farmington, UT – Fujifilm X-T1 & Asahi 110 18mm f/2.8

Blooms on a Branch – Farmington, UT – Fujifilm X-T1 & Asahi 110 18mm f/2.8

Tree Branch Leaves – Layton, UT – Fujifilm X-T30 & Asahi 110 18mm f/2.8

Countryside – Layton, UT – Fujifilm X-T30 & Asahi 110 18mm f/2.8

Mountain, Trees & Meadow – Layton, UT – Fujifilm X-T30 & Asahi 110 18mm f/2.8

Trail & Tall Trees – Layton, UT – Fujifilm X-T30 & Asahi 110 18mm f/2.8

Boys on Scooters – Layton, UT – Fujifilm X-T30 & Asahi 110 18mm f/2.8

Big Leaf – Layton, UT – Fujifilm X-T30 & Asahi 110 18mm f/2.8

24mm

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The Asahi Pentax 110 24mm f/2.8 is the smallest of the three lenses, and the smallest interchangeable lens that I’ve ever used. It’s unbelievably tiny! I doubt that you’ll find a smaller lens that can be attached to your Fujifilm camera. Because of the focal length, which is full-frame equivalent to 36mm, this lens has a narrow depth-of-field, especially when focused at the near end. Bokeh is great!

Like the 18mm, this lens covers the frame, but there’s some obvious vignetting and corner softness. Center sharpness is good, but the lens becomes less sharp as you move away from the center of the frame. There are some chromatic aberrations and highlights tend to glow, but neither are as pronounced as the 18mm. Overall I liked the 24mm lens more than the 18mm, but it didn’t impress me enough to want to use it all of the time.

Rural Roofline – Sunset, UT – Fujifilm X-T1 & Asahi 110 24mm f/2.8

Coca-Cola Machine – Farmington, UT – Fujifilm X-T1 & Asahi 110 24mm f/2.8

Mini Mart – Ogden, UT – Fujifilm X-T1 & Asahi 110 24mm f/2.8

Corner Building – Ogden, UT – Fujifilm X-T1 & Asahi 110 24mm f/2.8

Trail Parking – Farmington, UT – Fujifilm X-T30 & Asahi 110 24mm f/2.8

Barbed Wire Red – Farmington, UT – Fujifilm X-T30 & Asahi 110 24mm f/2.8

Country Thistle – Farmington, UT – Fujifilm X-T30 & Asahi 110 24mm f/2.8

Ball Flower in a Garden – Sunset, UT – Fujifilm X-T1 & Asahi 110 24mm f/2.8

Lit Leaf – Sunset, UT – Fujifilm X-T1 & Asahi 110 24mm f.2.8

50mm

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The Asahi Pentax 110 50mm f/2.8 is the lens that I thought I’d like the least. Why? Because I already have several great 50mm (or near 50mm) lenses that I really like. Because of the focal length, which is full-frame equivalent to 75mm on Fujifilm X cameras, this lens has the most narrow depth-of-field of the three, especially when focused towards the near end, where it’s very thin. Once again, bokeh is great. Lens flare, if you like lens flare, can be downright amazing!

While there is some light falloff near the corners, this lens definitely has 100% coverage on APS-C sensors. It’s sharp in the center, and becomes less sharp towards the corners, although not quite as bad as the other two lenses. I did find some chromatic aberrations, but it’s pretty minor, especially when compared to the others. The 50mm lens was the most difficult of the three to use, but the results were the most rewarding. This was my favorite, and the one that I used most often. Of the three, this lens is the one that I can see using again and again. There’s something special about it.

Ray – Ogden, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

Girl in Yellow – Farmington, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

Boy & Lens Flare – Farmington, UT – Fujifilm X-T1 & Asahi 100 50mm f/2.8

Rainbow Flare & Kids – Farmington, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

Rainbow in the Woods – Farmington, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

Tree Flowers in a Forest – Farmington, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

Reeds by the Woods – Layton, UT – Fujifilm X-T30 & Asahi 110 50mm f/2.8

Large Rocks & Yellow Flowers – Farmington, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

Rushing Waterfall – Farmington, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

Conclusion

The lens that I thought I’d like the most is the one that I liked the least, and the one that I thought I’d like the least is the one that I liked the most. The 18mm and 24mm lenses are certainly usable, but they have some serious flaws, and you’ll have to consider how to artistically use those flaws to your advantage. Because of the narrow depth-of-field, the 50mm lens was the most difficult to use, but it produced my favorite pictures.

While using these tiny lenses on my Fujifilm cameras was a bit strange, I thoroughly enjoyed the experience, and I’ll definitely do this again sometime. I also plan to use the Pentax Auto 110, as I purchased three 110 film cartridges to use in it, and I’ll share the results when I do. I’m not afraid to do unusual things sometimes, like sandpapering a camera or taping cardboard to the front of a lens, and using little lenses intended for another camera is certainly unusual. If you’re looking to try something different, attaching Asahi Pentax 110 lenses to your Fujifilm camera is just that. For me it was a great experience, and these little lenses provided me with big fun!

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