202 ☼ New Film: Phoenix II landed (and it's lovely)
GIVEAWAY: a roll of Phoenix II film!
Dear friends,
A new color film was released this week, and it's lovely and a tad experimental.
In this issue:
Early results from Harman's new Phoenix II film (35mm + 120)
Portraits of my inspiring friend Perzia
a BTS reel from the shoot
a few thoughts on why this release matters for the future of film photography.
a giveaway of Phoenix II
pre-announcement for Process Workbook, Volume Three
Before we dive in: If you're a shooter or editor in or around Amsterdam and interested in working on short-form videos with me, drop me a line here.
Color film isn’t dead. It’s dancing.
A few weeks ago, I got early rolls of a new color film stock: Harman Phoenix II. I spent the afternoon with my friend Perzia and we tested out this film in both 35mm and 120 format.
It's an updated, experimental emulsion from Harman, Ilford's consumer line, and a follow-up to their original Phoenix film which was launched less than a year ago.
Harman's approach is unusual: each Phoenix version is limited-run, and each new release improves on the last. When a new version comes out, the previous one is discontinued. It's film as iteration, and I kind of love that.
I haven't seen similar iterative releases before, in the sense that they follow each other so fast. Of course, all film continues development and one stock gets replaced by an upgrade, but usually that's on a much longer timeline.
Phoenix I vs Phoenix II: What's Changed
Compared to the original Phoenix, Phoenix II delivers better color reproduction, more controlled contrast, less grain, and increased sharpness. I especially noticed less of that "crunch" factor, that interplay between grain and contrast, which made Phoenix I feel a bit aggressive at times. The folks are Harman also told me it’s easier to scan, but of course all my film is scanned by best-lab-in-the-world Carmencita so I am never worried about that! They put so much love into their work!
It should be noted that Phoenix II is still an experimental film, so expect halation, color shifts, and relatively tight exposure latitude. There's no color mask either, which means your negatives may not look as you'd expect, but I haven't seen mine developed yet so I can't say exactly how. The backing is canary yellow on a fresh roll, kinda fun!
How I Shot It
For this test, I shot everything at ISO 160, slightly overexposing from the standard 200 ISO rating but within the recommended range of 100-200 ISO. All shots were at f/2.4 using natural light on an overcast day. I needed all that light, ending up around 1/60th shutter speed for most shots and sometimes 1/30th.
If anything, the color palette feels like a cross between older Kodak Ektar for the skin tones and classic Fuji color negative blues and greens in the shadows. Not very weird, but at the same time also not super true-to-life either. Just a nice, usable film that I'd happily shoot again. I especially love it for portraits. I enjoy the depth of the shadows.
Why This Release Matters
Because it's “consumer” rather than "professional" grade, the price is more accessible at around €15/$14 per roll. Accessibility is clearly a big consideration for Harman. Even though they've invested millions in developing these films, and I really appreciate that they're keeping cost in mind for photographers.
This matters and is especially great for beginners who can be scared off by today’s prices for film. This way they can learn more affordably and make all the mistakes we all have to make when we first start out.
So much fresh film these days feels prohibitive to young photographers, but Harman (and Ilford more broadly) are making a real case for film's future: thoughtful development and smart iteration based on feedback. I hope they keep going and that others follow their lead. There are no bad film producers out there in my opinion, they’re all working hard and hung in there during the tough period after digital took off, so I want to support each of them. We’re all in this together.
The grid above was shot on 35mm with my Contax G2 and on-camera flash. The rest of the images this issue were shot on 120. Huge thanks to Lydia for assisting and capturing BTS (see below), and to Perzia and her Studio Perzia for being such a wonderful collaborator and place filled with calm inspiration.
VIDEO: Watch 60 seconds of BTS and results from this shoot. Lydia makes the funniest cameo appearance and edited this together masterfully.
Your Turn - Giveaway
What's a film stock that surprised you recently? Maybe something with unexpected colors, interesting grain, or unique characteristics? Share it in the comments and check out what others write. Let's encourage each other. I will pick one comment at random and send you a roll of 35mm Phoenix II.
Let’s keep shooting, learning, and sharing together. One messy, human step at a time.
Warmly,
Wesley
P.S. Is there someone you want to share the news of this new film stock with? Do me a favor and share this issue with them. It helps me a lot in getting the Process word out.
📷 What I Used This Week
People often ask what I’m using and here’s this week’s setup:
Camera: Pentax 67ii + 105mm 2.4 lens. Contax G2 + 28mm lens. My usual digital go-to set up is the Canon EOS R5 and the Canon RF 24-70 mm f/2.8 L IS USM lens.
Film Stock: Harman Phoenix II
This issue is supported by MPB.com, which is my personal go-to for buying, selling, or trading used gear. Everything comes with a 6-month warranty.
This issue is also supported by picdrop.com, which my preferred tool for building online galleries to let my clients review, select, and download photos from shoots. Use “PROCESS” at checkout to get a free 2-month trial.
Lab: My film is processed by Carmencita Film Lab. I trust them fully for both their work and their humanity. Use code "PROCESS" for a free upgrade on your next order.
Next Week
Taste: why it matters more than ever, how it shapes our work, and a few simple ways to sharpen yours. That is what we will talk about next week!
Also an exciting announcement about Process Workbook, Volume Three. I’m so pumped to share what’s about to happen!
Support Process & Elevate Your Photography
If these Sunday issues give you something, energy, motivation, a new way of seeing. you can support Process by picking up a book or joining the Process Photo Club.
Process Workbook Volume One & Two: Creative prompts and assignments designed to get you out of your head and into action with your camera.
€8.99 each (free for Process Photo Club members)
NOTICE Journal, Volume One: A fresh perspective on beauty and rebirth, shot in Amsterdam.
€40 (or €20 for Process Photo Club members)
📚 Order here and you help keep Process accessible to all.
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🚧 Currently Working On1
Currently Working On / Project Updates (r = release date)
Process Workbook, Vol. 3 — Exciting announcement next week (r: Jul)
Creatives In/AMS — Pitching and shooting (r: Oct)
NOTICE Journal, Volume Two — Developing concept
25 in 2025 — Preparing for September shoots (r: Nov 7)
I recently shot a roll of Lomography Color Negative 800 on a gloomy overcast day and was shocked at how it handled light; super vibrant, almost cinematic tones with this bold, punchy contrast I didn’t expect. The grain was noticeable but gave it a retro charm I actually loved. It turned a gray afternoon into something that looked straight out of a 90s indie film. Definitely a stock I underestimated! Can’t wait to see what others are experimenting with.
I love your photos with the Phoenix II, you brought the best of it.
It amazes me that very post or video I see about the new Phoenix shows incredibly different results. I wonder if the results will become more consistent over time?
Regarding your question, my latest crush was Dubblefilm's Cinema, which I shot partly in daylight, partly at night and turned out amazing in both light conditions.
https://www.ericafustero.com/2025-07-dubblefilm-cinema
I wasn't expecting to like the day results so much (truth is I wasn't going to use that camera but things happened and I just took it along anyway) and since then I've come to appreciate using tungsten film in daylight.