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y Processing and

Printing

Darkroom Layout • Divided into dry area and wet area

• Need good workflow between the two

Dry bench consists of enlarger

photographic paper

multigrade filters

contact printer

easel

film

Wet bench has trays of chemicals to process and wash the prints

• Two areas should be kept separate wet fingers can ruin negatives or printing papers

for health and safety as water and electricity should be kept apart

Darkroom Layout 1. WHITE LIGHT

2. CONTACT PRINTING

3. ENLARGER’S NEGATIVE

CARRIER

4. ENLARGER

5. FOCUSING MAGNIFIER

6. EASEL

7. TIMER

8. DEVELOPER, STOP

BATH & FIXER TRAYS

9. BOTTLES

10.PROCESSING TANK

11.FILM

12.SAFELIGHT

Basic Darkroom Equipment

• Enlarger with lens

• Enlarger timer

• Easel

• Contact printer

• Focus finder (optional)

• Blower brush

• Printing filter kit

• Photographic paper

• Scissors or small guillotine

• 2 x A4 size card

• Set of trays

• Tongs

• Wash tray and hoses

• Clock

• 3 x measuring beaker

• Film and paper process chemicals

DRY BENCH WET BENCH

A darkroom requires both a safelight and a white light source. Darkroom bulbs which can be plugged into an

existing socket are available from photographic suppliers. You need at least 2 safelights and one should be

above the dry area the other near the wet bench. The white light allows you to evaluate your work.

Process trays should be 3 different colours labelled according to the chemicals they will contain (developer;

stop bath; fix). Same for tongs and beakers.

Contamination can badly affect your results – using dedicated containers prevents this. (Wash everything after

use too)

The entire process

Black & White Negative Processing • Developing tank and reels

• Thermometer

• Scissors

• 3 x 1 litre (2 pint) jugs

• Negative developer

• Stop bath

• Fix

• Hypo clearing agent

• Wetting agent

• Darkroom clock/timer

• Film wiper or chamois leather

Processing Equipment

Requirements

Loading Film • Exposed film is loaded onto the processing reel IN COMPLETE

DARKNESS (no safelight)

• PRACTICE THE PROCESS WITH UNWANTED FILM IN THE LIGHT

• Lay out tank, reel, lids, reels reel rod and scissors so you know where

they are and can find them in the dark

• Remove the exposed film cassette from camera. If leader tongue is

still visible, cut it off so end of film is straight (b)

• Make sure reel is completely dry (hard to load if wet)

• Ensure the 2 small flag indicators are opposite one another

• Close the door, switch off the lights

• If you already cut off the film tongue you can load immediately, if it is

in the film case, break open the case, feel for the tongue and cut it off

with scissors

• Guide the film under the two flag indicators (c) and over the ball

bearings.

• Gently pull the film onto the reel. Once you have threaded about 1”

(2.5cm) it is safe to rotate the reel slowly (thumbs on flags) – you will

feel the film slip past your fingers (d)

• Continue rotating until the film cassette end prevent further winding

(keeping thumbs on flags throughout to prevent film slipping off the

reel edge)

• Cut off the cassette and rotate reel to load film end

Loading Film • Insert the reel rod through the

centre of the reel and put in the

tank (e)

• Ensure that the flattened disc end

fits into the slot at the bottom of the

tank

• Put on the tank’s lid

• With the lid securely closed the film

is now shielded from the light so

you can turn on the light

It is possible to load film into

developing tanks inside a

photographer’s lightproof changing

bag, in which case you can leave

the light on – but you are still

working just by touch

Processing the film - 1 • Fill measuring jug with 1 litre water @ 20°C (68°F) –

temperature is important

• In 2nd jug measure required amount of developer; add the appropriate amount of water @ 20°C for the number of films being developed.

• Pour the remaining water into the developing tank to pre-wet the film (ensures film at correct temp; ensures all film will get the chemical soln at the same time; washes off any dust)

• Close the upper lid of the tank

• Invert the tank twice; tap it gently on the wet bench (=agitation) leave to stand for 30-45 seconds

• Remove the upper lid and pour away the water

Processing the film - 2 • Set the dark room clock to the developing time (according to chart

provided with the chemicals)

• Pour the developer into the tank and begin timing

• For the first 30 seconds agitate the tank continuously, after this invert the tank and tap on the bench once every 30 secs for the rest of the developing time

• At the end of the time remove the tank’s upper lid and pour the soln down the sink. Pour in the stop bath solution. Replace lid, agitate for 10 secs then stand.

• Pour stop bath soln down the sink after 30 secs and add the fixing bath soln.

• Fixing takes 2-4 mins depending on the brand you are using

• Agitate for 10 secs then one inversion and one tap every minute

• Pour fix into storage bottle and wash the film in running water for 10 minutes. It is important to remove all residue of chemical from the film (some tanks have a special tap fitting to make washing easy)

Processing the film - 3 • At the end of the washing add a drop of wetting agent to the

developing tank. Swirl the reel around in the tank making sure the agent is well mixed in the water.

• Remove reel from tank and the film from the reel taking great care as the emulsion is still soft and easily scratched until it is dry

• Carefully wipe down the film with a wet softened chamois leather or special film wipers

• Hang the film up to dry (20-60 mins) dependent on temperature and whether using drying cupboard

• DO NOT EXAMINE THE NEGATIVES UNTIL THEY ARE DRY AS THEY ARE STILL VULNERABLE TO DAMAGE & DUST

• Once dry cut them into strips of six and immediately place in negative sleeves – you can now safely view them

Printing the Negatives

• 2 types of photographic paper • Resin coated (RC)

• Fibre based (FB)

• Both come with different surfaces – glossy, matt,

semi-mat etc

• Best to use RC paper to start with as it is

cheaper, faster and less susceptible to chemical

staining. Usually best to start with glossy paper

• Fibre based papers produce rich tones and are

used for exhibition quality photographs

Making a contact print

A contact print is the positive print of all

the negatives of a film on a single piece

of 20 x 24cm (8x10”) paper

Requirements

• Contact printer

• Blower brush

• Filter printing kit

• Photographic paper

• A4 card

• Negatives

Printing the negatives • View negatives on light box but keep in sleeves to avoid static which

encourages dust

• Select a strip of negatives and decide whether normal exposure

(density), under or over exposed in general

• Filter selection depends on densities/exposures (see table below)

• Ensure the glass of the contact printer is clean

The entire process