Actualité industrie · 2026-09-10

Harman Phoenix I and II: Do Britain's Color Film Stocks Actually Hold Up Against Kodak Gold?

Since December 2023, Harman Technology has been doing more than manufacturing Ilford black-and-white films. The company is now producing its own color emulsions at its Mobberley factory in the UK. Phoenix I came first, then Phoenix II in July 2025, alongside the Harman Red and Switch Azure rounding out a color lineup that's grown into something worth paying attention to. And it really is worth noting: Harman has become the fifth largest manufacturer of color negative film in the world. For analog photographers looking to break free from the Kodak/Fuji duopoly, that deserves a serious look.

Phoenix I: An Experimental Film That Owned It

The original Phoenix launched at ISO 200, C-41 compatible, in 36-exposure rolls. Harman was upfront from the start: this was an experimental emulsion, not a polished consumer product. And it shows. Pronounced grain, high contrast, a warm color palette with a heavy orange cast, and a stubborn tendency to blow highlights into a reddish glow. That halation effect is the film's most recognizable trait, and you either love it or you don't, often depending entirely on what you're shooting.

The exposure latitude is narrow. In practice, this film doesn't forgive much. Underexpose by half a stop and the shadows collapse, detail disappearing into muddy nothing. Overexpose slightly and the highlights clip fast. It behaves best in full, even light. Under overcast skies or in high-contrast scenes it becomes unpredictable, and not always in a way that rewards the unpredictability. Some photographers fell hard for its raw, industrial-vintage character and colors unlike anything else on the market. Others shot one roll, got inconsistent results, and moved on. The analog community landed on a fitting nickname: "Marmite film." You love it or you leave it.

Phoenix II: A Complete Reformulation, Not a Refresh

Phoenix II, released in July 2025, is not a cosmetic update. Harman rebuilt the emulsion from scratch: new layers, new dyes, new couplers, new architecture. Technically it's a different film that happens to share a family name.

The practical improvements are genuine. Highlight handling is better. Where Phoenix I would clip and bloom easily, Phoenix II holds more detail before saturation sets in. The contrast is still punchy but better controlled. Grain is finer, and results are more consistent across different scenes. The film is also now available in 120, which opens things up for medium format shooters, a meaningful addition.

The color character has shifted too. The heavy orange cast of the original has become something more complex: a slight violet-purple tint contributes to a soft, almost pastel palette, warm but not aggressive, saturated but not screaming. This isn't accurate color reproduction. It's a deliberate stylistic interpretation, and Phoenix II has its own distinct personality that several reviewers have compared to Fujifilm Velvia, though more approachable. In 120, the rendering gets even better; the larger negative area does what it always does, smoothing grain and giving tonal transitions more room to breathe.

Harman's Color Lineup: A Real Strategy

Phoenix I and II aren't isolated experiments. Harman has clearly committed to building a differentiated color range. Harman Red leans into extreme character with a very heavy color cast. Switch Azure goes even further into experimental territory by literally inverting colors: blues become orange, yellows shift to azure, reds turn violet. These are niche films designed for deliberate experimentation.

Phoenix I and II occupy a different position: strong character, but intended for more regular use. Phoenix II in particular seems aimed at photographers who want something distinctive without committing to a film as unpredictable as Switch Azure. It's the most versatile option in Harman's color lineup, at least for now.

Qualitative positioning of Harman's color lineup versus Kodak Gold 200. Placement reflects character intensity and practical versatility, not measured values.

Up Against Kodak Gold 200: An Honest Comparison

The natural comparison is with Kodak Gold 200. Same speed, same C-41 process, and generally similar pricing in the budget-to-midrange bracket.

Gold 200 is a mature film, refined over decades. It's gentle with highlights and has comfortable exposure latitude: you can push it a stop or two over without disaster, which is reassuring for everyday shooting or high-contrast scenes. The palette is warm and slightly nostalgic, with flattering skin tones and moderate saturation. It's predictable, in the best sense of the word.

Phoenix II, by comparison, is less forgiving but more singular. Its tighter latitude demands more attention. Its colors aren't trying to be accurate; they have their own personality, with that violet cast, those off-warm tones, that visible grain giving images an almost painterly quality. For outdoor portraits in good light, Gold 200 will generally be more flattering and reliable. For a project that needs a different aesthetic, or simply for anyone curious to explore something else, Phoenix II has a voice Kodak simply doesn't offer.

Pricing is roughly comparable, around $10 to $15 a roll depending on the retailer. That's not really the deciding factor. What decides it is the look you're after.

Characteristic	Phoenix I	Phoenix II	Kodak Gold 200
ISO	200	200	200
Process	C-41	C-41	C-41
Formats	35mm	35mm, 120	35mm
Color cast	Heavy orange	Soft violet-purple	Warm, neutral
Grain	Pronounced	Moderate	Fine
Exposure latitude	Narrow	Moderate	Comfortable
Highlight handling	Clips quickly, reddish bloom	Better controlled	Gentle, forgiving
Predictability	Low	Medium	High
Approx. price/roll	$10–$15	$10–$15	$10–$15

Reasons to Stay Cautious

Phoenix II only came out in July 2025. Field reports are still accumulating, and some testers have noted that the latitude is more temperamental than the marketing suggests. The film is clearly better than its predecessor, but it hasn't become a general-purpose consumer stock. If your shooting conditions vary a lot, if you're regularly moving between deep shadow and full sun within the same roll, expect uneven results.

Going Further

If you want to try Phoenix II without committing to multiple rolls, start with one, in full sun or under even, consistent light, and meter carefully. That's where it shows its best side.

When scanning, the film responds well to pulling back contrast slightly during the conversion step: shadows open up and the overall palette comes through more clearly. Some photographers apply a custom scan profile to dial back the violet cast if it's not what they're after, though doing so means partly bypassing what makes the film itself.

If Harman's color range interests you more broadly, Harman Red and Switch Azure are worth exploring for deliberate experimental work. But if you're looking for a color film stock that could become your go-to, shoot a roll of Phoenix II first, then run a roll of Kodak Gold 200 through the same camera in similar conditions, and draw your own conclusions.