In response to the growing demand for analogue photography, with the return of Kodak professional chemicals or a renewed interest in solutions to develop film, HARMAN Technology announces the development of its popular Phoenix film, now available in 120 format. This expansion allows medium format photographers to experience the unique characteristics of the Phoenix film, known for its grain structure and made for photographers with an appetite for experimentation.
After a campaign built around the motto “sometimes size matters” the company finally revealed the new emulsion, or better a new format, 120, for its now popular Phoenix film. Introduced in 2023 as the perfect 35mm film for those who like to experiment with analogue film, the new HARMAN Phoenix 200 is available as a DX coded cassette with a base sensitivity of ISO 200 but can also be rated from 100 to 400. Now the company takes the next step and introduces the 120 format. This expansion allows medium format photographers to experience the unique characteristics of the Phoenix film, known for its grain structure and made for photographers with an appetite for experimentation.
The introduction of Phoenix 120 film offers photographers more versatility and creative options, for those who appreciate the depth and detail that medium format cameras can deliver. Phoenix 120 film is, the company says, “characterized by strong visible grain and vibrant colours with strong greens, reds and vivid blues.”
HARMAN Phoenix 200: unlike any other color film
To promote the film Harman Technology gave photographer Jose Carvajal a few rolls of HARMAN Phoenix format 120 and joined him for a shoot in his studio before following him to Carmencita Lab in Barcelona where he got the rolls developed and scanned. The video is interesting but should also serve as a warning for those who may want to try the film: this is nothing like conventional emulsions. As Harman Technology stated when launching the 35mm version, “HARMAN Phoenix is an experimental, limited-edition film and the first step on HARMAN Photo colour journey”.
The video confirms that the emulsion is unlike any other color film on the market today, and that it can produce very different looks depending on the scanning method used. In this video Harman Technology highlights some of the differences between scans from the Fuji Frontier vs a Noritsu, both widely used lab scanners, and suggests users to always check with their preferred photo lab the type of equipment they use, and also making the lab aware of Phoenix’s scanning optimization guidelines (available at harmanphoto.co.uk).
This follows a video from Carmencita Lab (also shown here) discussing the original 35mm emulsion and how using different scanners affect the results. Exposure is also a tricky part of using it and photographers should be aware that although sold as a 200 ISO film, the emulsions really is 123 ISO, according to HARMAN Technology R&D department, and only for marketing reasons it is labelled at a higher ISO. This can be misleading if you just buy a roll to try and are not aware of the experimental characteristics of the film.
In defense of HARMAN Technology, the company does state that “With a DX coded cassette and a box speed of ISO 200, we recommend rating HARMAN Phoenix between ISO 100 and 200 depending on the scene brightness and contrast range. It performs best in good, consistent light and on brighter days or when shooting into the light there is also a possibility of halation.”
The company also noted that the film “delivers punchy, vibrant colors although they react differently to different scanners and settings. Getting the exposure right will certainly help to get the best results so we suggest metering for the mid tones to retain shadow or highlight detail (over or under exposure is not Phoenix’s friend)”, ending with the following note: “part of the fun of shooting film is expecting the unexpected and this film delivers exactly that from its uniquely colored negatives to chance encounters with occasional coating anomalies. Hold back your expectations and enjoy the experience!”
The information made available by the company and the discussions generated since the emulsion was first launched do remind me, to a certain extent, of the adventure of shooting ORWO Chrom UT-18 a color reversal slide emulsion from ORWO, a company founded in 1909, as an off-shoot of the AGFA film company. In the 80s, when photographers discovered the emulsion, they were amazed by the unique – and hardly controllable – results, which would change from batch to batch. This meant that if you were shooting ORWO Chrom regularly and wanted to keep consistent color in your work you would buy batches of film, when available, and keep it in the fridge.
HARMAN Phoenix 200 in 35mm and 120 format is different, but it continues to be an adventure and an opportunity for those who want to explore analogue. It’s also a key reason for Harman Technology’s announcement of “significant ongoing investment in the future of photographic film” as the company “has further reaffirmed their commitment to the future of analogue photography with multi-million-pound investments in pioneering tech, cementing its place as a world-leader in manufacturing film.”
In fact, HARMAN is undertaking one of the most significant film modernization projects of the 21st century, designing and building two new state-of-the-art converting machines – the first to be produced since before the millennium.
Greg Summers, managing director at HARMAN Technology, said: “Film photography is a passion, not just a hobby, for millions of people across the world. Analogue cameras and skills have been passed down through generations, and we’re seeing new people fall in love with film photography every day. However, users have limited choice and manufacturers are battling old machinery and processes, and replacement parts that just don’t exist anymore. We’re taking a huge leap to address that with this investment.”
According to Summers, the company’s hub in Mobberley “is going to become a centre of photographic excellence, as we aim to pioneer new ways to manufacture, produce and develop film – both black and white and color. It’s now a better time than ever to push resources into our team and build on the market’s momentum. We’re making sure that we have a wealth of young talent that is ready to take the reins from industry veterans, combining their experience with innovative processes to produce and protect the future of film photography.”
The new kit, which will more than double the number of film cassettes Harman can produce every year, has been designed from scratch and custom-built for the business. The equipment manufactures the metal cassettes that house the film, before ‘spooling’ the 35mm photographic film into the cassettes and boxing them ready to be shipped around the world. Further similar investments are planned that will also complement existing operations, improving capacity, and productivity over the next few years. The investment will also serve to support businesses in the wider film industry, who rely on HARMAN to help with manufacturing and distributing their own products.
David Jenkinson, HARMAN’s operations director said: “This type of equipment has not been commissioned by film manufacturers since the 1990s. So, the team has had to start from scratch, designing the equipment from the ground up, introducing modern standards of throughput and automation.”