Wow, this was a fun one to shoot! I chose to experiment with this film at Houghton House which is derelict, my thinking being the RED may make it look a bit dystopian and I was not disappointed!!

For the right subjects, this is an extraordinary film, but handle the results with care! Everyday scenes are transformed either onto another planet or into some forewarning of an apocalypse (or both).
Shooting backlit trees on this roll meant I was certain to have strong halation but I was still quite struck to see that sometimes entire branches were no longer silhouettes but were enveloped by the light to be left glowing red. I see this as a feature to lean into, not a bug, as it can create some fantastic effects. I'd been holding this roll for just this purpose, when the right day arrived, and was blown away by the results.
As the film is essentially back-to-front in the camera, I did have to flip the scans left-to-right when I got them back from AW, but that's no hardship and is a reminder of how redscale film comes about. (Seems to simple to be true, but it is!)
Shot at best attempt at box speed on my Yashicaflex C TLR.

This is a really cool experimental film that makes it so much easier to shoot 120 redscale without all the hassle of respooling roll film (which is like impossible). The only thing I'd note: if you're home scanning, it is much harder to scan than regular film. But on the level of the photos themselves, I really like the look of them.

If you've ever wanted London to look like it’s set on Mars — Harman Red 125 has you covered. Shot on my Mamiya 6, this roll turned the familiar streets of the capital into a bold, fiery dream. Think: burnt orange skies, inky shadows, and glowing yellows straight out of a sci-fi film.

I shot it at box speed (ISO 125) on a bright summer day. Piccadilly Circus was the perfect chaos to start with — flare from the low sun bursting across the Underground sign, deep shadows cutting through the crowd.

This isn’t a subtle film. You don’t shoot Harman Red to blend in. But it made me slow down, look for contrast, and think about what I actually wanted in the frame. It suits bold shapes, directional light and a bit of chaos. It’s not for everything — but it’s definitely for something.

Would I shoot it again? Totally, yes.