5 Frames with a Minolta Dynax 9 & Harmon Phoenix 200

“Happy accidents?” I often muse on my growing fascination with analogue photography. Digital was my starting point, my comfort zone when I needed to “get the shot” at any cost. Yet, after years of exploring exhibitions and museums, a nostalgia for film seeped into my consciousness. This sparked a collecting spree of film cameras, which I’ve been using for personal projects ever since. It’s been a long learning curve, filled with moments of disappointment when rolls returned from the lab or self-development attempts went awry. But on revisiting these “failures,” I often find a sense of personal accomplishment in overcoming the constraints of ageing technology, film medium, time, and fleeting subjects.

I was a year late to the Harmon Phoenix party. It wasn’t until I read a recent post on 35mmc that I realised I’d yet to try out an exciting opportunity. With the London Design Festival 2024 looming, I planned a theme of subjects that I thought would resonate with Phoenix’s “new” British innovation aesthetic. Based on my research, I decided to overexpose to ISO 160 to maintain shadow detail. To be safe, I also used my Sekonic for hand metering, especially for midtones.

With my plan in place, I set off to explore London. My Dynax 9, paired with a Sigma 12-24mm f/4.5-5.6 DG and Sigma 35mm f/1.4 DG, was my choice for the day.

My first stop was Greenwich Peninsula, a hub of landmark subjects:

Next, I headed to the Chelsea College of Arts. This subject I would usually document digitally. The signature halation of Phoenix was prominent, giving the image a nostalgic sci-fi vibe.

Finally, I visited Strand Aldwych. Initially disappointed with the results, I realised upon closer inspection that the imperfections added to the image’s character. The lack of shadow detail rendered the visitor anonymous, while the colour shifts created a skewed narrative.

I completed the entire roll in a single day, a feat that often challenges me. My first foray with Phoenix was pleasantly diverting. While I was initially disappointed, I now see the entire set of photos as quite interesting. The chosen theme and subjects seem perfectly suited for Phoenix’s experimental nature. To achieve a similar effect today, you might need to rely on digital filters or AI. Overall, this is a collection of “happy accidents” that has inspired me to explore medium format film with Phoenix 200 in future.

Note: All images were scanned by AG Photographic and presented without any adjustments to colour, straightening, or cropping. ‘Top of Tree’ straightened in post for publication.

Thanks to the London Design Festival for this creative opportunity.

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