A Unique Look? Harman Phoenix 200 in E-6 With Flash

I’ve had some experience shooting Harman Phoenix 200 as a reversal film with the 35mm version of it from the early batches — purchased shortly after its release.

Typically, Harman Phoenix is processed with C-41 chemistry, but I decided to go a different route and try E-6. Why? I was after something perhaps more unique — a shift in colour that would add extra character and depth to a project I was working on (more about that later). The idea was to use the film to make it feel less like a straightforward documentary and more like a visual statement.

In this article, Exposing Phoenix 200 as a slide film. Scanning and post-processing. The camera and flash setup. Experiment context. Acknowledgements. More of the experiment results: Harman Phoenix 200, shot with flash and cross-processed in E-6. Support this blog & get premium features with GOLD memberships!

Exposing Phoenix 200 as a slide film.

Before I began my project, I went online to see what people were saying about their experiences with it and checked the information on the manufacturer’s page. Based on what I gathered, as I had E-6 processing in mind, I rated my film at ISO 40 instead of its box speed of ISO 200, and I placed an 85B (orange) colour conversion filter in front of my lens.

The plan to shoot Phoenix 200 through a filter and give a full 2⅓ stops of overexposure was based on two key reasons:

First, others who tried to process this film in E-6 reported a strong blue-green cast. The colour shift was so overpowering that it looked impossible to correct in post-production. To mitigate this, the suggestion was to treat the film as if it were balanced for incandescent light (i.e. an emulsion that emphasizes blue to compensate for the yellow bias of incandescent lighting) and use an orange colour conversion filter (such as the 85B) for daylight conditions.

I found that the resulting blue-green bias was still present after shooting Phoenix with an 85B filter (and developing it as a slide film) — but it was manageable in post-production. The processed film strips retained a noticeable greenish tint.

Second, I found a suggestion (online) to rate Phoenix at ISO 40 (or thereabouts) when photographing in daylight through an 85B filter.

This advice is based on how photographic film works. Film is coated with emulsions that respond to specific wavelengths of light.

When a filter like the 85B is used, it blocks certain wavelengths from reaching the film. This not only reduces the overall amount of light hitting the film but also prevents the emulsion layers sensitive to those blocked wavelengths from being fully exposed. As a result, the film’s sensitivity decreases.

I decided to apply this suggestion to my flow as well.

Scanning and post-processing.

After having it developed commercially in E-6, I scanned the film using a Nikon Coolscan V LS-50ED running VueScan software on my computer, producing DNG files.

I set the VueScan software for my scanner to “auto colour” rather than “white balance.” This was based on Harman’s advice on scanning Phoenix as C-41 negatives, though not as E-6 strips. (Phoenix 200 lacks the orange mask typical of most C41 films and this causes challenges to scanners).

The processed film strips are very dense, and their base seems to have a dull-ish appearance, which is not as transparent as traditional slide films intended for projection. The film would be very dark and with a strong colour bias if it were to be projected as a slide.

I used Adobe Lightroom Classic to refine the images, applying curve adjustments for histogram equalization on the blue/yellow channels. (See the screenshots before and after adjustments were applied). This technique helped to achieve a more balanced and pleasing tone, as simply adjusting the white balance with the dropper tool wasn't enough to address the colour shift.

The camera and flash setup.

I used a Nikon F80 body. The lens was a Tamron SP 45 mm f/1.8 Di VC, with an 85B filter. I set the camera to 1/60 sec. (the F80 camera can sync with flash up to 1/125 sec. but my intention was to allow some ambient light in). Most of the images were taken at f/4. I used a single Nikon SB800 flash unit connected to the camera via a TTL cable, letting the flash run on TTL automation. The camera’s flash metering system automatically accounted for the slight darkening caused by the filter, which is rated at –⅔ stop. This setup allowed me to work quickly and efficiently.

I held the camera in one hand while positioning the flash unit at arm’s length with the other, giving me some measure of control over the direction of the lighting. As a side note, I was reminded how pleasantly quiet the Nikon F80 is in operation, despite being a fully motor-driven, automated camera—a small detail that made the experience even more enjoyable.

Experiment context.

This was a film-based personal experiment within a larger collaborative project that was photographed digitally .

I had the opportunity to collaborate with Liz Marsh of EMFD London (Elizabeth Marsh Floral Design), who brought together several businesses for a project centred around floral designs and vintage wedding themes. My role was to photograph the floral arrangements, dresses, costume jewellery, and other elements, as well as a “tableau” inspired by Pre-Raphaelite art. The project spanned two locations, one of which was the Orangery at Holland Park — a beautifully converted 19th-century greenhouse now used for event hire. I captured this collaborative project using digital equipment.

During the session at the Orangery, I took a few moments to work on a personal film-based project within the larger collaboration. With a Nikon F80 loaded with Harman Phoenix 200 film, I photographed Elodie Rose in the retro wedding dress she had been modelling. The setting was ideal, with pre-Raphaelite-inspired floral arrangements as the backdrop. I also captured a few frames of her as she prepared for the next tableau.

Harman Phoenix is typically processed using C41 chemistry, but I opted for E-6 processing to create a more atmospheric, almost painterly effect. My intention was to emphasize mood and emotion over realism.

Acknowledgements.

I would like to recognize all the collaborators involved in this project. It was a pleasure to photograph their work. These are the Instagram handles of the participating businesses: @EMFDLondon; @Boodles; @brides_do_good; @OrangeryHollandPark; @KCVenues; @Oxo2southbank; @weddingpresentco; @Vaultvintage_London; @Elodie.rose_model and @diditlondonbrides.

All participants have mutually agreed in writing via email to allow the posting and use of any images resulting from the collaboration.

More of the experiment results: Harman Phoenix 200, shot with flash and cross-processed in E-6.