First roll of Harman Phoenix photos up!

[pbromaghin]

Why on earth should any of us think we have a right to care that Ilford is subsidizing the creation of a color film out of sales of other films? Just where do people think the money for a new product comes from? It is corporate death to stand still.

 

[Sirius Glass]

Why on earth should any of us think we have a right to care that Ilford is subsidizing the creation of a color film out of sales of other films? Just where do people think the money for a new product comes from? It is corporate death to stand still.

Ilford was directed to stop making color film by the UK if I remember correctly. I would like to see Ilford product a worthy color print film. There is no question that to do so would require resources [money, brains and time] to bring it back.

 

[MattKing]

Did someone from Harman such as Simon Galley say this or say something so close that it could not be any question that it referred to cross subsidisation?

Thanks

pentaxuser

Simon Galley posted about the reasons for discontinuance of the cool tone developer.
They were really reluctant to make the decision, because their initial promise was to not discontinue any of the products they committed to keeping in their line after the business was revived, and the cool tone developer required them to break that promise.

 

[MattKing]

Why on earth should any of us think we have a right to care that Ilford is subsidizing the creation of a color film out of sales of other films?

Everybody has a right to care - if the concern is based on concern for Harman's wellbeing.
Products that require subsidization can kill a business.

 

[koraks]

Ilford was directed to stop making color film by the UK if I remember correctly.

That sounds a little odd, to be honest. Western governments generally don't decide these matters.

 

[foc]

Ilford was directed to stop making color film by the UK if I remember correctly.

I think you may be referring to the UK Monopolies Commission back in 1966.

For more details, please read @Ian Grant post #03 here

Also check out 1966 in both of these

https://www.ilfordphoto.com/about-us/history/

https://www.photomemorabilia.co.uk/Ilford/Chronology.html

 

[koraks]

I think you may be referring to the UK Monopolies Commission back in 1966.

That makes sense; so it wasn't a case of Ilford being 'directed to stop making color film', but rather a poorly designed anti-monopoly policy that backfired.

 

[Sirius Glass]

That makes sense; so it wasn't a case of Ilford being 'directed to stop making color film', but rather a poorly designed anti-monopoly policy that backfired.

Now would be a good time to fix past mistakes.

 

[koraks]

Now would be a good time to fix past mistakes.

Looks like 60 years after the fact, they're making progress!

 

[blee1996]

Tried Harman Phoenix with pinhole, and it kind of gives the bold Holga look. The blur in the foreground is due to wind motion: it was 2 seconds exposure. Shot at ISO 100, Kodak C41 kit home developed, scanned as slide and inverted in Negative Labs Pro.

Backlit blossom - ZeroImage69_Phoenix200A_009 by Zheng, on Flickr

Up close the fluffy - ZeroImage69_Phoenix200A_004 by Zheng, on Flickr

A dreamy lane - ZeroImage69_Phoenix200A_001 by Zheng, on Flickr

 

[dalahorse]

... I expect it will go down well with the folk who enjoy "effects" films and will help fill the coffers for more R&D towards a 'normal' C41 film.

This is what I think Harman is going for with Phoenix. It would seem that there are a lot of young photographers who have been inspired by family photo albums full of color shifted machine prints and Polaroids from the 1970s and 1980s. These are, I suspect, the same photographers shooting with potato quality cameras and special effect films. It sort of reminds me of starting out as a kid with my lumpy grain drugstore prints from my Kodak Disc 3100 - complete with fingertips partially covering the lens - from back in 1984.

Rather than discard several batches of prototype film, Harman might as well sell it to that niche market. Hopefully some of the profit will go into further R&D to produce "normal" color print films. And hopefully some of the profit will also go into other Phoenix-like films, which is what the retro-inspired buyers are interested right now. If Harman doesn't pay attention to what up and coming young photographers and bloggers want, they'll miss out on an entire genre of film photography.

 

[thinkbrown]

I've shot a fair few rolls of Phoenix now and I'm getting to the point where I'm very happy with the results. I'm metering it at 125, processing it in ecn-2, and then inverting manually. The typical negative reversal tool I use delivers poor results but a straight inversion and then minor tweaks of the RGB levels seems to yield consistent results.

Skin tones are definitely still a weakness and it often seems like you have to choose between the scene looking generally correct and people looking slightly jaundiced, or the scene skewing slightly blue and skin tones looking more natural.

Included photo is a scan of a 6x7 negative shot on my mamiya press.

 

[AnselMortensen]

Nice! The colors look like a 1960's "chrome" postcard.

 

[dcy]

I've ordered a few rolls of Harman Phoenix, and even Harman Red. I am more than happy to subsidize the R&D for new color films and I want to vote with my wallet to tell the company that want them to pursue this work.

I shot a roll of Harman Phoenix, which I somehow managed to lose . Then I shot another roll this past weekend, and I'm going to send it to a lab. I'm expecting the lab scans to look fairly awful, so I look forward to DSLR scanning to see what I can accomplish with this film. I shot half the roll at ISO 160 and half at ISO 125 to compare.

I don't have equipment to develop C-41 or ECN-2 at home, but I do plan to go in that direction. I think the next few rolls I'm sending to the lab will be the last, and after that I'll move to developing at home. But I do want to see Phoenix developed at a lab so I have a basis for comparison.

@thinkbrown : You said you developed Phoenix in ECN-2. Am I right to assume that that's to reduce contrast?

 

[thinkbrown]

@thinkbrown : You said you developed Phoenix in ECN-2. Am I right to assume that that's to reduce contrast?

Honestly it's primarily a convenience thing. I started mixing ecn2 from scratch when I started bulk rolling vision 3 films. I didn't want to maintain two sets of color chemistry and realized I prefer the look of c41 film cross processed in ecn2 a hell of a lot more than ecn2 film in c41. So now everything goes through ecn2.

I have noticed that a number of the more "experimental" color films (Phoenix, NC500/400) tend to look better to my eye cross processed ecn2 compared to the standard process photos I've seen online.

 

[dcy]

Honestly it's primarily a convenience thing. I started mixing ecn2 from scratch when I started bulk rolling vision 3 films. I didn't want to maintain two sets of color chemistry and realized I prefer the look of c41 film cross processed in ecn2 a hell of a lot more than ecn2 film in c41. So now everything goes through ecn2.

Quick tangent: Where do you get the bulk rolls of Vision3? I do not currently bulk load but it's something I'm considering for the future, but I can't find bulk rolls of Vision3 online.

I have noticed that a number of the more "experimental" color films (Phoenix, NC500/400) tend to look better to my eye cross processed ecn2 compared to the standard process photos I've seen online.

That's interesting. My understanding is that ECN-2 gives muted colors. That sounds great or Phoenix which often looks too intense, but the photos I see online for NC500/400 look muted, so I'd assume ECN-2 would make it worse.

I have a few rolls of Color '92. I shot one roll and was happy with the negatives I got from the lab. Now I'm wondering if they'd look better in ECN-2.