Harman Phoenix II Film… A Solid New Option for Color Shooters

Big Improvements

Let’s talk about it. HARMAN’s original 200-speed color film, Phoenix I, was an exciting release last year. It had loud colors, a totally new feel from other stocks, and a bit of unpredictability. I only shot a few rolls, but it was fun — another new color film in a world mostly ruled by Kodak Portra 400 and CineStill 800T. Still, it wasn’t the most reliable choice for studio work or landscapes that demand dynamic range. The tones were a little flat, the colors leaned wild, and while it delivered that nostalgic analog feel, it wasn’t something I’d reach for on the regular.

Phoenix II feels like the real deal. It’s been completely redesigned from the ground up with new dyes, couplers, and even an experimental layer structure that improves overall precision.

This version is more refined and less unpredictable, but it still has plenty of character for that classic film look. Even after just one roll, I noticed real improvements in contrast, grain, and sharpness. Shadows and highlights hold up better, and there’s more room to play with exposure, though it still looks best when properly metered.

Scanning also feels smoother right out of the box. As with any film stock, results will vary by scanner, but these scans give HARMAN the justice it deserves. Whatever changes they made, they work… and I’m all in.

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Shooting with Phoenix II

It provides a neutral bas with a touch of analog allure. It’s got strong contrast with nice shadow detail, leaving room for color retention in al the best places.

There is a noticeable number of grain in the darker spots, but not enough for it to be distracting. It feels perfectly intentional and adds texture to help shape that analog narrative. It pops in all the best spots, exiapy with opposite colors in the same frame, like my friend’s shirt against the green, or the yellow placed in front of the bright sky. When I shoot color film, I really like when the colors have their own unique flare or taste, it’s the kind of effect you can’t quite nail with digital.

I shot these babies with 120 film on my Mamiya RB67 in various settings and was truly impressed at how beautifully it performed. It also comes in 35mm for your full-frame point and shoots, so you get both options for your favorite camera.

Just Arrived

Ilford

Harman Phoenix II Film - 35mm

$13.99

A fresh take on color film… made from scratch in the UK.

Phoenix II is HARMAN’s second-ever color film, and it’s way more refined than the original. The first Phoenix was fun and experimental, but this version keeps that bold vibe while dialing things in where it counts: better latitude, smoother grain, and more reliable scans. It’s warm, contrasty, gritty in all the right ways and honestly just super fun to shoot.

Rated at ISO 200, processed with C-41, and available in both 35mm and 120 formats.

If you loved Phoenix I, this one fixes everything that felt maybe a little too warm, while keeping that punchy character. And if you normally shoot Portra 400, Phoenix II is like its wilder, more expressive cousin. It’s warmer, has more visible grain, and adds a little more charm to your shots. 

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It Might Be the Alternative to Kodak

I love Kodak, that’s no secret. I shoot it almost every day and bring it to just about every shoot. And of course, shoutout to my bestie Tim (have you seen our film shootout on YouTube yet?). But let’s be real: Kodak is a premium choice, and the price reflects that. Picking up a 5-pack of rolls, plus scanning, can easily run you a couple hundred bucks. That’s tough to justify for casual shoots with something like my Pentax 17 half-frame.

Phoenix II feels like a big deal int his world of digital. It’s the new go-to for creators looking for a more affordable alternative to Kodak or just something different. But more importantly, it’s one of the only truly new color films being made today. Not reskinned. Not rebranded.

It’s not a mystery stock with no origin, and it’s not repackaged Kodak film like CineStill (if you didn’t know, CineStill buys Kodak motion picture film, removes the rem-jet layer, and repackages it). Kodak, CineStill, Ilford — all stellar choices. But I love when something fresh hits the scene in the film community, we don’t get it that often. Phoenix II feels handcrafted, intentional, and made with care by real people who love film.

Kodak Portra 400 vs Phoenix II

Kodak Portra 400 is the golden child of film stocks: the best-seller, the go-to for photographers, and my personal favorite. It’s just hard to beat. Portra nails skin tones and handles highlights beautifully, making it ideal for portrait work across all kinds of lighting and skin tones. I still reach for Portra 400 for shoots by the ocean or out in the sun, but HARMAN’s Phoenix II has me genuinely excited to try something new on upcoming projects.

While the skin tones on Phoenix II aren’t quite as precise or smooth as Portra 400, they’re definitely better than most lesser-known films out here, and noticeably better than CineStill 400D, which I tend to reserve for more stylized night-heavy shoots or lifestyles.

Kodak Gold 200 vs Phoenix II

Kodak Gold 200 is the budget-friendly sibling to Portra, with a warmer, more nostalgic feel. It’s a consumer cult-favorite for a reason. I’d put Phoenix II in a similar category, it’s another light-hungry film that brings out texture in shadows and delivers a nice amount of grain.

Gold 200 leans warmer and really shines in brighter outdoor scenes with tighter dynamic range, while Phoenix II holds its own in the studio. It gives you a more neutral base that works well across different subjects, especially for portraits. In fact, I often found my self having to warm the image ever so slightly after scanning.

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