Harman Switch Azure 125 .
The "Switch" name suggests Harman has more experimental colour films planned, but for now Azure 125 is the first — and it's a strong start. It's a colour-shift film that moves warm tones toward cool blues and cyans. The effect varies with exposure and subject, which means results are unpredictable in the best possible way.
The colour shift is the point. Blues and cyans dominate where you'd normally expect warmer tones, and the effect varies with the subject and the light. Blue skies become orange warm colours turn blue. Skin tones are cool The grain is moderate, the contrast is controlled, and the shifted palette has a quality that looks more like a carefully graded film still than a filter slapped on in post.
Azure wants good light and careful exposure. It's an ISO 125 daylight film with narrow latitude — overexpose and the colour shift fades, underexpose and you get an unflattering green cast. Box speed in bright conditions is the sweet spot. Landscapes, architecture and anything with strong lines and tonal contrast suit it well. It's not a film for every occasion, but for the right subject it produces results you genuinely can't get any other way.
This is a niche film and it knows it. If you want faithful colour, look elsewhere. But if you want to see a familiar scene rendered in a way you've never seen before, Azure is worth a roll.
- + Landscapes and nature where the blue shift turns familiar scenes otherworldly
- + Architecture and urban scenes with strong lines and tonal contrast
- + Creative and fine art projects where you want a distinctive, cold palette
- − Faithful colour reproduction — choose Portra/Ektacolor Pro 160
- − For creative colour in low light — choose CineStill 800T
- − Predictable, repeatable results — choose Ektar 100
more from their film.
Switch Azure 125 is an ISO 125 daylight-balanced film with intentionally narrow latitude: the TDS recommends exposure bracketing, especially in bright or high-contrast conditions. Overexposure tends to suppress the colour-shift effect while significant underexposure introduces a greenish artefact. Meter for midtones and be ready to bracket. In 35mm, grain has a distinct textural bite that adds analogue presence to the shifted colours; in 120, the larger negative renders grain essentially invisible at standard output sizes.
Push processing is not recommended by Harman — shoot at box speed and use standard C-41. The film has no orange mask, which trips up auto-balance on many lab scanners. Harman publishes recommended settings for Fuji SP3000 and Noritsu HS1800 in the TDS, and scanning as reversal then inverting in post gives the most consistent results. For exposures beyond one second, the reciprocity correction formula is Ta = Tm^1.31.
Store unexposed rolls in a cool, dry place (10–20°C). Refrigeration is fine — allow the cassette or roll to come to room temperature before opening to prevent condensation.