{"product_id":"harman-red","title":"Harman Red 125 - 35mm Colour Negative Film","description":"\u003ch1\u003eHarman Red 125 - 35mm Colour Negative Film\u003c\/h1\u003e\n\u003cp\u003e\u003cstrong\u003eA professionally made redscale film, from the factory that also makes Ilford.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHarman Red 125 35mm Film is an ISO 125 redscale colour negative film made by Harman Technology in Mobberley, UK. It is the Harman Phoenix 200 emulsion spooled in reverse, so light hits the red-sensitive layer first and images come back in reds, oranges and yellows. Standard C-41. DX coded, 36 exposures.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eWhat Makes Harman Red 125 Habit-Forming\u003c\/h2\u003e\n\u003ch3\u003eRedscale, Done Properly\u003c\/h3\u003e\n\u003cp\u003eRedscale is what you get when film is exposed through its base rather than its emulsion side, so the red-sensitive layer is hit first and the blue tones are filtered out on the way in. Photographers have been doing it by hand for years by reversing film in the canister, which brings light leaks and frame spacing problems along with the colour. Harman Red arrives finished and DX coded, with none of that to work around.\u003c\/p\u003e\n\u003ch3\u003eWhy the Phoenix Emulsion Suits It\u003c\/h3\u003e\n\u003cp\u003eHarman Red is built on Harman Phoenix 200, launched in late 2023 as the company's first colour film. Phoenix has a clear base, no anti-halation layer and unusually high red sensitivity, which are the qualities a redscale conversion needs. That is also why Red loses relatively little speed in the process, landing at ISO 125 rather than dropping much further.\u003c\/p\u003e\n\u003ch3\u003eExposure Is the Creative Control\u003c\/h3\u003e\n\u003cp\u003eWhat you set on the dial decides a great deal about what comes back. Harman's own guidance is that underexposure gives coarser grain, deeper reds and more prominent shadows with subtle greens; normal exposure gives consistent orange tones and softer shadows; and overexposure gives finer grain, higher contrast and dominant red and orange tones. Harman suggests metering for the mid-tones.\u003c\/p\u003e\n\u003ch3\u003eBright Light, Strong Shadows\u003c\/h3\u003e\n\u003cp\u003eThe redscale effect has most definition when there is real light and real contrast to work with. Reviewers testing it have found it strongest in bright conditions with bold colours and hard shadows. On a flat grey day it has much less to work with, and at ISO 125 you will run out of shutter speed quickly.\u003c\/p\u003e\n\u003ch3\u003eIt Does One Thing\u003c\/h3\u003e\n\u003cp\u003eRed is a strong, singular effect rather than a general purpose film, and it will not suit every subject. One reviewer, comparing it with Lomography's redscale, found Harman's version more consistent but more limited in its colour range, with less of the deep green and cyan that can appear in less tightly controlled stock. It is a film to load when you want this particular look.\u003c\/p\u003e\n\u003ch3\u003eScanning Is Straightforward\u003c\/h3\u003e\n\u003cp\u003eHarman says Red scans on a range of commercial scanners using standard colour settings and auto correction, needing only minimal density and colour balance adjustment. No processing changes are needed for bracketed exposures either, so a roll shot at several different speeds still goes through one normal development.\u003c\/p\u003e\n\u003ch3\u003eHarman Photo, Not Ilford\u003c\/h3\u003e\n\u003cp\u003eHarman Technology makes Ilford's black and white films at the same Mobberley site, but Red is sold under the Harman Photo brand. Ilford Photo and Harman Photo are separate brands under the same parent company, and this is not an Ilford film.\u003c\/p\u003e\n\u003ch3\u003eStandard C-41\u003c\/h3\u003e\n\u003cp\u003eOrdinary colour chemistry, nothing a lab needs warning about, and we develop, scan and print C-41 in house.\u003c\/p\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat\u003c\/td\u003e\n\u003ctd\u003e35mm, 36 exposures\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eISO\u003c\/td\u003e\n\u003ctd\u003e125\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eType\u003c\/td\u003e\n\u003ctd\u003eRedscale colour negative\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eProcess\u003c\/td\u003e\n\u003ctd\u003eC-41\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eUsable range\u003c\/td\u003e\n\u003ctd\u003eEI 50 to 400, best at 100 to 200\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eBased on\u003c\/td\u003e\n\u003ctd\u003eHarman Phoenix 200, reversed\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDX coded\u003c\/td\u003e\n\u003ctd\u003eYes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eMade in\u003c\/td\u003e\n\u003ctd\u003eMobberley, UK\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003chr\u003e\n\u003ch2\u003eWhat is redscale film?\u003c\/h2\u003e\n\u003cp\u003eRedscale film is exposed through its base rather than its emulsion side, so light reaches the red-sensitive layer first and most blue tones are filtered out. The result is dominated by reds, oranges and yellows. Photographers have long improvised it by reversing film in the canister; Harman Red is a commercially finished version in a DX coded cassette.\u003c\/p\u003e\n\u003ch2\u003eWhat ISO should I shoot Harman Red 125 at?\u003c\/h2\u003e\n\u003cp\u003eBox speed is ISO 125, and Harman recommends EI 100 to 200 for the best results depending on how bright and contrasty the scene is. Usable results run from EI 50 to 400. Shooting slower pushes towards finer grain and dominant reds, while shooting faster brings coarser grain, deeper shadows and more green.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cstrong\u003eBest For\u003c\/strong\u003e Bright days with hard shadows, landscapes you want to make look unfamiliar, architecture, and anyone who enjoys a film that does something obvious to every frame. It wants a sunny afternoon rather than flat light. Once you have shot it, send it our way. We \u003ca href=\"\/products\/film-developing\"\u003edevelop, scan and print\u003c\/a\u003e C-41 in house, and a redscale roll benefits from a scan by someone who knows what it should look like.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerfect for:\u003c\/strong\u003e People who have taped film in backwards themselves and would rather not again, photographers bored of predictable colour, anyone shooting a project that needs to look like somewhere else entirely, and anyone whose dependency has reached the experimental shelf.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eRedscale has spent most of its life as a DIY trick, which meant accepting whatever light leaks and speed loss came with it. Harman Red is the same idea built deliberately, on an emulsion that happens to suit it. It remains a novelty in the honest sense of the word, and there is room on the shelf for one of those. For Harman's conventional colour film, see \u003ca href=\"\/products\/harman-phoenix-ii-35mm-colour-negative-film\"\u003eHarman Phoenix II\u003c\/a\u003e. More \u003ca href=\"\/collections\/colour-negative-film\"\u003ecolour negative film\u003c\/a\u003e, posted from North Essex.\u003c\/p\u003e","brand":"Harman","offers":[{"title":"Default Title","offer_id":57614337933686,"sku":null,"price":11.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/3892\/5430\/files\/Harman_Red_125.jpg?v=1776320279","url":"https:\/\/chemicaldependency.co.uk\/products\/harman-red","provider":"Chemical Dependency Lab","version":"1.0","type":"link"}