| Frequently Asked Questions |
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Where can I find a nice overview for a design for my darkroom?
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How does film compare to digital photography in relation to the black and white darkroom?
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Will paper deteriorate after it's been opened - even if kept in a light proof bag?
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I want to copy some black and white prints. Can you recommend a fine grain, high resolution film?
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1. Where can I find a nice overview for a design for my darkroom?
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Check out this link to Kodak's Site. I think you will find it very helpful. Just remember to keep the wet and dry sides of the room separate!....you don't want any chemical contamination around the enlarger and paper storage areas. The diagrams at Kodak's site should give you a few good ideas.
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You can pour used chemicals down the drain in most communities if you are connected to a local sewer system. If you have a septic tank, it is recommended that you do not introduce photographic chemicals.
Don't forget that fixer can be used many times before discarding. I use fresh fixer for film development and then pour it into a gallon jug that I use to process prints. This solution will probably last with average use quite a few months. (you can buy "Hypo Chek" that will tell you if the fixer is still good). You also have the option of buying a silver recovery kit, with which you can recover the dissolved silver from the fixer solution, before you pour it down the drain.
Kodak has a vast resource on Waste Management - see it at Waste Management
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3. I have purchased a used enlarger. I was wondering if I can print black and white photos with it? I was also wondering what is the difference between a black & white enlarger and a color one?
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All enlargers are capable of making black and white prints from either black and white, or color negatives. when using variable contrast paper, prints are made with the aid of thin acetate filters that can be temporarily inserted into the enlargers filter drawer (my Beseler 23C is one). These filters are variable density and specifically made for use with black and white negatives. If printing a color print from color negatives then you would use filters specifically made for use with color negatives. These filters are magenta, yellow, and cyan in color. By combining the various filters, you can balance the b&w or color negative for the paper being used and thus obtain a good finished print.
Where a true color enlarger differs is that it has a "color head". The color head contains the light source and also has 3 dials or switches (one each for magenta, yellow and cyan). After using a color negative analyzer to determine the filtration necessary, you would simply set the color dials to the correct values and set the timer for the correct exposure time and expose the paper.
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I use a condenser type enlarger (Beseler 23C) and love it. There are two types of enlargers.
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Condenser enlarger - This type of enlarger has a sharp, undiffused light that produces high contrast and high definition in a print. Scratches and blemishes in the negative are emphasized.
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Diffusion enlarger - This type of enlarger scatters light before it strikes the negative, distributing light evenly on the negative. Detail is not as sharp as with a condenser enlarger, but negative blemishes are minimized.
There isn't a dramatic difference between the two types, except that you will pay more for the diffusion type. Choice is more of a personal preference.
Which ever type you decide upon, purchase a fairly good lens for it. I have a Rodenstock "Rodagon" f2.8 50mm lens........this gives you f-stops from f2.8 to f16 with 1/2 stop click stops.Also see the "enlargers" section of my Equipment page.
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5. I'm building a darkroom in my basement. Is it safe to have the chemicals in the same area as my gas water heater and furnace?
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Yes, none of the chemicals for darkroom use are flammable. So you can build it right next to the furnace and water heater, which is right where I built mine. (Just remember that if the furnace or heater is in the darkroom, that the flame will give off light - and of course either would circulate dust).
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6. In a confined area of the darkroom, how bad would the chemical fumes be even though using some sort of ventilation?
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My darkroom is in a corner of the basement and I vent the fumes with an exhaust fan into an adjoining hallway in the basement. The fumes are barely noticeable outside the darkroom and if I leave the fan turned off while working in the darkroom, you can work for about half an hour before the fumes become annoying (you start to taste the fixer). However, I don't recommend that you work without an exhaust fan. If you were to vent the exhaust through an exterior wall of your basement, all the better, although make sure that you don't have cold draughts or rodents coming in.
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7. I want to use the storage area of my basement for a darkroom. This area has a small basement-type window and a door. I don't want to wall off the darkroom area at this time. Any suggestions on the best way to block the light from the window and doors?
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See my Darkroom Construction Page -- Scroll down the page and read - "Temporarily Light Proofing A Window Or Door",
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I would, build temporary frames, larger than the openings and fasten them securely in place. I would construct these with 2x2 lumber, with a cheap plywood coating. If the basement has concrete walls and floor, then you could fasten the frames in place with a nail gun. These could be removed a few years later when you decide to permanently partition and finish the basement. Make sure that after the frames are in place, you caulk around them with a dark brown or black caulk that will adhere to both concrete and wood. Use the same caulking around the top and sides of the "regular" door - for the bottom, you will have to install a proper threshold (and fit the door to it), or place something at the bottom of the door and duct tape it into place each time you use the room. Note: You may have to also caulk around the base of any existing walls, as there could be gaps through which light can enter.
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8. How does film compare to digital photography, relating to the black and white darkroom?
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With digital there isn't a way to convert the digital information into a negative for use with your enlarger. Without a black and white negative, you can't manipulate and print an enlargement in the home darkroom. This can however be done with the aid of a computer and printer, but it does not suit the needs of the creative home darkroom worker who wants to create a true work of art.
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Prints from digital images using an ink jet printer (which are very good), are better suited to color prints of vacations, where you want to churn out a stack of prints. If you want to produce an artistic quality print that you have complete control of, then stick with film. Computer software just cannot produce the subtle shades of grey that define an excellent print.
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Ink jet printers available for home use with digital images produce prints that are 8x10. The darkroom worker may want to make a print that is 16x20 inches or larger, which can be easily done with negatives.
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The image produced on a black and white negative can have a far greater tonal range and finer grain (resolution) than its digital counterpart. In time this may change as technology advances and digital gets better.
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Digital cameras can now be purchased for about the same price as a good SLR (about $500), but the image capabilities of film will be far superior to a digital camera in this price range. If you were to spend $1500 on a digital camera, the resolution and grain would be much better, but still have the limitations discussed above.
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9. I have made a number of 8x10 prints from 35mm b/w film that all come out very grey. The negatives have good contrast, but I can't seem to make it come out on the prints. I am using variable contrast paper and have used up to 4 filters, but after the prints dry, it is again grey. I am wondering how much lens aperture affects this?
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Did you fix the prints for the proper amount of time?
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Your developer may be exhausted - make up a new batch or buy new concentrate.
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Make sure that you use an acid stop bath between development and fixer (not a water rinse).
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Are you sure that the negatives have a good contrast range? - compare to other b&w negatives.
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Is your exposure correct - have you made test strips of the image in question using the your filters and variable contrast paper?
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Is it fog you are seeing? - check your safelight!
The aperture will not affect the contrast of the print. The aperture will only affect the overall density (light or darkness) of the print. The aperture settings are primarily to allow you to control the speed of exposure with which the print is made - this allows you to set a very small aperture to give you enough time to do such things as "burning" and "dodging".
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10. My safelight has an amber filter (#13, I assume). Can this be used instead of an OC filter, which is light amber?
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The best way to be sure, is to do a test print. Turn off the darkroom lights and put a blank piece of photographic paper on the darkroom counter and partially cover it with a book or something. Then turn on the safe light and leave for 5 minutes - develop the paper and see if you can see a change from the white of the paper to a grey shade where the paper was exposed to the safe light. If there is a difference in shade then your safe light is not adequate.
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11. I was just wondering how the photographs actually are produced with the chemicals involved. If you could describe the step-by-step process, it would be greatly appreciated.
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Photographic paper is coated with invisible silver halide crystals. Silver halides change from white to black metallic silver when exposed to light. This change will not be visible, but is an invisible change which produces what is called the "latent image".
In order to see the image the print must be developed, "fixed" and washed.
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The developer reacts with the exposed crystals of silver halide, freeing the silver from its compound and depositing it as tiny, irregular grains of metallic silver. These many, minute grains, form the black silver image (this is what you see - the blacks or grays of the image).
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After developing to the desired effect, the development must be stopped so that print will not darken further. This is done by placing the print into an acid stop bath for about 10 seconds.
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The print is then placed in a "fixing bath" sometimes called "hypo" which will dissolve the undeveloped silver halide crystals, thereby preventing the silver halide from turning dark under visible light.
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The print then must be washed to remove any residual chemicals and dissolved silver salts.
Also see these links:
How Photographic Film Works
Back to Top12. If I were to use my bathroom, I understand that there cannot be even a bit of light like a candle, a flash light, a red light bulb - NO LIGHT. So how can I see what I am doing for my first time?
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When working with unprocessed film, (loading film reels for processing) there cannot be any light in the room - not even a safe light. Read my Film Development page.
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After making sure that the room is light tight, you will need to use a safe light for exposing paper and processing prints. Buy a proper safe light enclosure - you cannot use a red light bulb!
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If you use a bathroom as a temporary darkroom, you must make it light tight - this means that after sitting in darkness for 5 minutes, you should not be able to see anything that you hold up to your face. If that is true, then you should be ok. Make certain that cracks around the door and any windows are sealed well.
Back to TopIf you live in a major city, there should be something available. Ask at photographic supply stores - they should be able to refer you to a source. Also search out photography clubs -they would be a good resource. Failing that, go to a library or bookstore and find a good book on black and white darkrooms / photography.
Back to Top14. I understand that the developers for film and paper are different, but what about the other chemicals?
Yes the developers are different for film and paper. The stop bath is the same and you can use a non-hardening fixer for both the film and the paper. Dump the developer and the stop bath down the drain after you have finished your printing or film developing session, but retain the fixer, it is more expensive and can be used many times. After I develop film, I pour the used fixer into a gallon jug which contains used fixer from my previous printing sessions. This fixer will last for months - just use a "hypo chek" every few weeks to see if the fixer is still good (couple of drops of "hypo chek" into the fixer - if white precipitate forms, then fixer is exhausted).
Back to Top15. All of my black and white prints are coming out looking cloudy, is there anything that I can do to prevent this? It isn't the chemicals because they are brand new.
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The cloudy prints might actually be fogged prints. Have you tested your darkroom setup to make sure that it is light tight? See my page - The Room
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The problem could also be that your printing paper has been exposed to light (someone accidentally opened the paper while the lights were on), this is quite common, so try a piece of paper from another source.
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Also test your safelight as it may be fogging the paper. Test by placing a piece of unexposed paper on the easel and turn on the safelight for about 4 or 5 minutes. Develop and compare to a piece of unprocessed paper - they should be identical.
The cause is most likely one of these 3 - it's just a process of elimination.
Back to Top16. Will paper deteriorate after it's been opened - even if kept in a light proof bag?
Yes, paper will deteriorate with time. The best way to store it for an extended amount of time of over 6 months would be to seal it well and then put it in a freezer. When you decide to use it again take out the whole package, leave it unopened and let it come to room temperature over a period of 3 to 6 hours. As for paper that has been sitting in the darkroom - I have used paper that has been lying in a cool darkroom for 2 years, and it still produces very good prints. (I am talking about black and white paper here - color paper would deteriorate more rapidly).
Back to Top17. I am wondering if there is a color change to indicate whether I have had my chemicals too long. Do they discolour when they have lost potency? They are all in their original light proof bottles and are undiluted solutions.
The only chemical that I would be concerned about aging would be developer. If it is a bottle that has never been opened and has been stored in a cool dark room, I would guess that shelf life should be a year or more. If the bottle has been opened and has any amount of air in it then the developer will oxidize fairly rapidly and be useful for only a month or two. If it has oxidized it will turn brownish in color, as compared to a relatively clear new solution. If on the other hand, you have poured out some of the concentrated developer and then squeezed the air out of the plastic bottle before recapping it, then the concentrate should last much longer before oxidizing.
Slightly oxidized paper developer is quite alright to use, but slightly oxidized film developer will give a change in contrast to the finished negative, so I can't recommend using oxidized film developer.
Concentrated fixer and stop bath have a very long life and I would not be too concerned about either of these chemicals.
Back to Top18. Varible Contrast Filters - Could you please tell me how one decides which enlarger filter to start with when trying to add contrast to a print from a negative that lacks contrast? We use Kodak polycontrast III RC F paper. Someone told me that if you use polycontrast III to always start with a #4 filter. Another person said she always starts with a #3 filter and then tries a 31/2 or a 4. Is there a rule of thumb for aperture opening and exposing time when using filters?
I would say that if your are printing from a "perfect" negative, then start with a #2.5 filter, but there are a few factors that can make your setup and experience different from someone else's. You may be using a different type of enlarger - a condenser type will produce a higher contrast print than will a diffusion enlarger for instance.
Just a side note on lens aperture - It really doesn't matter which aperture that you use - the aperture is used more to control the length of exposure than anything else. If you were making a 16x20 print, then since the lens is a long way from the paper you need to open it up...maybe f2.8 or f4. If you are making a small print 4x5 then stop lens down further to maybe f16 or smaller and make and an adjustment to the timer. If you do not adjust the aperture accordingly for print size, then you will either have excessively long or very short exposure times. Very short exposure times are a problem, as they don't allow any time for burning or dodging. Very long exposure times are just generally a pain, as well as the possibility of reciprocity failure. So generally for an 8x10 or 11x14 print use f8 to f5.6 as a lens setting.
Another thing, is that everyone has their own particular quirks in the way in which they develop their film. Different people agitate their film during development more or less vigorously or more or less frequently during the development cycle. Hence, their negatives will not be the same as yours - so if your negatives lack contrast, make test strips starting with a #3 filter and if unsatisfactory, make test strips using a #4 filter, and so on. Of course if your negatives are always poor, then maybe your technique needs to be looked at. The best way to obtain consistency is to use the same type and speed of film for a few months and always develop the film exactly the same! You should then end up with negatives that are fairly close to each other in contrast - of course there will always be the odd mistake that can be blamed on poor technique either when made the using the camera or during development.
This all takes practice and experience, which unfortunately takes time - be patient. You will eventually be able to look at a negative and guess the exposure time and filter pack and be fairly close - after all most of the negatives will be of similar density. Note: I would always start with the same lens aperture for the enlarger, that way all you will need to guess is the exposure time - the filter pack will always be 2.5 and the lens aperture f-5.6 or f-8 - this is the easiest way to build consistency. Also, make notes - for each negative that you successfully print, record the exposure time; aperture; filter pack; print size; and distance from the easel to the lens (inches or centimeters). With these figures, you can easily duplicate a print that you have previously printed - test strips won't be required a second time.
Remember, paper is expensive, so don't be in a hurry to make a good print. Darkroom work is all about patience and a feel for the medium that you are working with, and lastly good darkroom work is all about experience.
My friends and I will sometimes labor over one print for hours, just to get it exactly right. If you want to run off 24 different prints in an afternoon, then you may as well close the darkroom and take the roll of film to the local photo lab for processing the prints.
Just a note here - I am not a fan of Kodak's poly contrast - try Ilford's multigrade - I love it.
Back to Top19. Just wondering if there is special B+W paper that you can purchase to print from colour 35mm negs? With normal B+W paper, I have encountered problems with insufficient contrast.
Yes, you are correct - Kodak makes a paper for that purpose, called "Panalure".
Here is the link Kodak Panalure Paper
Back to Top20. I have acquired a load of 12yr old paper in mixed grades. Could you suggest a ratio of paper developer to water and a temperature that will still bring out the blacks? I'm finding its a little slower than new paper but still printable.
Increasing the developers strength and temperature, while producing a print would also increase greatly increase the size of the grain in the print. I would suggest that a good use for this paper would be for prints that you intentionally want to look old fashioned. I would produce the best print that I could using standard developer and then try toning the print. Toning can increase the contrast of the finished print, while at the same time giving the print various warm or cold hues. See my page Printing Chemicals - scroll down the page until you see the toner section.
Back to Top21. I want to copy some black and white prints. Can you recommend a fine grain, high resolution film?
Use Kodak Professional T-Max 100 Film - a quote from Kodak's site "It is also excellent for copying black-and-white photographs, for making black-and-white copies from color transparencies, and for photomicrography."
Kodak's T-MAX data sheet can be seen at the following url - T-Max Data
Back to Top22. I am bit confused about that dilution issue. On the D-76 developer, Kodak instructs to mix the powder with 4+1 litters of water. How do you make the 1:1 dilution?
You mix the powder with water according to the instructions on the Kodak packet. You then have what is called a "working solution" or "stock solution" - you can use the developer that way and develop the negatives for the time given for D-76 on the film data sheets or you can further dilute the solution to what is termed a 1 to 1 solution (1:1).
The term one to one (1:1) refers to the stock solution diluted to 1 part water to 1 part stock solution. The benefits of 1:1 are - finer grain and definition. This will require longer development times (see my film data tables) - Film Data Tables To complete the process, use stop and fixer and wash times as per normal.
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