Lomography Peacock Slide 110 200

Peacock 200 is the slide film that brought 110 back from a thirty-year grave. Kodak loaded Kodachrome 64 into 110 cartridges until 1982 and then walked away from the format. Nobody made a positive emulsion for the cartridge again until Lomography released Peacock X-Pro in 2012. It ships in 24-exposure cassettes at ISO 200, and the X-Pro suffix tells you Lomography expected most buyers to cross-process in C-41 rather than develop in E-6.

That naming choice has caused friction with photographers who would rather see the film handled correctly. Through proper E-6, Peacock produces saturated true-color slides with the sort of automotive-paint richness that made slide film famous. Cross-processed in C-41, you get the high-contrast oversaturated cyan-and-yellow look that Lomography built its brand around. Both are valid. Pick before you load.

One practical wrinkle is the Pentax Auto 110, the most popular surviving 110 camera. Its meter defaults to ISO 100 for any cartridge, which means Peacock at ISO 200 gets a stop of overexposure on every frame. With slide film, a stop over is the difference between a usable frame and a blown highlight. The workaround is shooting at smaller apertures than the meter suggests, or using a hand meter and treating the camera as manual.

Among other Lomography 110 stocks, Peacock is the only positive option. Orca 110 is B&W negative, Lobster is redscale, Metropolis 110 is negative. If you want a 110 cartridge that produces a transparency you can put on a light table, Peacock is the only choice.

Available in 110 cartridges in 24-exposure lengths. No 35mm or 120 version. Current production runs in periodic batches.

Reciprocity exponent is 1.20. Zone Light Meter applies the correction past one second. A 5-second metered exposure becomes about 7 seconds at the negative. In practice you will almost never run a 110 camera at tripod speeds; the format is built around handheld snapshots in daylight, and that is where Peacock is happiest.