What is a Darkroom?
A darkroom is a dark area or room where one can develop film and print images from negatives. As the photographic film is sensitive to light, an area absent of light is needed. Similarly, black and white photographic paper is also sensitive to all types of light except red. This is why a ‘safe light’ can be used. Color photography is more complicated due to their need for a range of different chemicals and a strict temperature range.
The size of your dark room will depend on what you want to do with it. If you are hoping to develop black and white film into negatives, to scan them – a fully equipped darkroom is not needed. You can do what you need with a simple darkroom bag. If you are looking at using many enlargers, or creating large prints, bigger areas may be needed.
Trays for developing prints
Are Darkrooms Portable?
Generally, when we think of a darkroom, we envison photography students in a dedicated room or a person DIYing it in their bathroom. As photography is over 180 years old, some processed their photographs in closed, mobile places. Caravans or trailers were common areas. Silver & Light is a collaboration capturing Wet Plate Collodion images and processing them on the road.
If you are looking to dabble in film and print processing, you don’t need a dedicated room – you might not have space. As long as there is a space absent of light, you can develop or print. A bathroom is a great idea. They have smaller windows, have access to running water and provide a safe work zone that’s used to water (bath). A P.O.D. or Portable Obscure Darkroom is a temporary solution that you can pack away if needed.
A range of film development tanks
What Makes Up a Darkroom?
Darkrooms consist of two areas; a dry area and a wet area. You need both as the process starts dry, then wet and back to dry again.
A dry area not only allows you to store your equipment, it’s the main area to enlarge and capture the print. A wet area is where chemicals and water reveal the image. Its important to keep these areas separate to avoid spillages, damaging equipment and having a safe place to work.
A color enlarger for color prints
Film Developing
To process 35mm photographic film, you will need a pitch-black area, and only a few tools. A specific film canister, which looks like a bottle opener allows you to remove the film. Scissors allow you to cut the sellotape connecting the end of the film to the central holder.
After removing the film, roll it onto a reel, and place both inside a film developing tank. This air- tight container allows you to add (and remove) liquid chemicals that are necessary for developing the film. Developer, Stop and Fixer turns the photographic film into a negative. The film needs to dry before archiving.
To dry the film, a film squeegee removes excess water. Then hang the film via film hangers in a dedicated film drier (looks like a space age enclosed clothes organizer). A drying aid such as Photo- flo reduces streaking and water spots from the negative as it dries.
After the film has dried, cut the long strip of negatives according to the protective negative sheets – usually 6 on a row. When placed inside the sheets, they in turn fit into a binder for further protection. A loupe checks the focus of the negatives and decide which to print.
A film development system
Breakdown of Parts for Film Processing
Pre-processing (Dry Area)
- 35 mm film canister opener
- Scissors
- Darkroom Bag
Processing (Wet Area)
- Developing tank and reels
- Developer
- Fixer
- Stop
- Drying aid
Post-Processing (Dry Area)
- Film Squeegee
- Drying Box
- Film Hangers
- Negative Sheets
- Negative Holder
- Loupe
- Lightbox
An enlarger and print frame
Print Processing
Printing images allows you to work in a room that isn’t completely pitch black. A red ‘safe light’ uses a color rqnge that doesn’t affect the light sensitive paper.
The first step is to place the negative into the negative holder in the enlarger. A focus finder ensures that the enlarged projection is in focus. Under the enlarger, a frame holds the photographic paper while creating the print. Filters allow you to increase the contrast of the scene. Other tools, such as dodge and burn sticks hold back or intensify area of the print. A timer keeps the exact period of time to achieve a correct print.
After the paper has received the amount of light for the period of time needed, developing is next. This is done by placing the paper in trays, and adding the chemicals. Developer develops the print. A stop bath stops the development at the desired contrast/tonal range, and the fixer fixes the print. Photographic tongs move the print from one tray to the next.
After the paper has developed into a print, it now needs to dry. Depending on the paper type you use, you might be able to hang it on a washing line. Fibre based papers are better off with a specific drier, yet some use blotting paper to ensure the print is dry.
If you are looking to print a contact sheet, you can use a dedicted contact sheet holder. A China marker can mark specific frames on the contact sheet - to either print, or show negative crops. This can then go into your archival folder alongside the negatives
As a last stage, you may decide to frame the image, or simply archive until needed.
Enlargers require lenses to ensure a well focused print
Breakdown of Parts for Print Processing
Pre-Printing (Dry Area)
- Enlarger
- Frame
- Safe Light
- Filters
- Light sensitive photo paper
- Timer
- Focus Finder
Printing (Wet Area)
- Developer
- Stop
- Fixer
- Water
- Trays
- Tongs
- Contact sheet frame
Post-Printing (Dry Area)
- Drier
- China Marker
Timers allow precision printing and help keep prints consistent