Techniques in the Darkroom

How To Find Efficiency and Peace of Mind

It is mandatory that we develop techniques and methods in our darkroom work that maximize sound productive work and that minimize frustration and needless time-consuming procedures. The following are a few of the methods I have used to smooth out and expedite my work flow and maximize my enjoyment of the production of fine art photographs.

SAFE Safelights

Nothing is more disappointing than to see the beautiful high values of an image degraded by a safelight that doesn't provide the proper protection. While we desire a strong light to judge our work by, it is also important to remember that it is impossible to select an absolutely safe light for any photographic material because the spectral sensitivity of materials does not cut off abruptly at a given wavelength. The effect on print quality is compounded in the highlight areas when a print is exposed to an unsafe light and then the exposure from the negative is added. This creates a density higher than normal on the print and produces a degradation of the highlights. Photographic papers also have a slight sensitivity to colors beyond their sensitivity range. The sensitivity of a paper depends on the nature of its emulsion , so testing is very important. What is needed is a safelight testing procedure.

I will outline below the procedure that I have used to test my safelights. As a result of this testing I have replaced all my light bulbs in the darkroom with 71/2 watt bulbs which are placed about four feet above the trays. For testing I used the recommended 15 Watt bulbs a distance of four feet above the trays. The procedure I used is as follows:

A. Turn the safelights off, without a negative in the enlarger. Using the fastest printing paper you use and with a short exposure, produce a light gray tone just clearly above paper white. Brief testing will determine the correct exposure to produce this light gray.

B. After this exposure level has been determined, expose a final sheet of paper, but don't develop it yet. All lights are still off

.

C. Tape the sheet emulsion up on a cardboard set over the developing tray, with all lights still off. Place a narrow, opaque object like a ruler lengthwise along the entire surface of the paper.

D. Cover a one inch section of paper and ruler with another piece of cardboard of around 11 x 14 inches and give the pre-exposed sheet 2 minutes of safelight exposure. Extend the cardboard another inch and give the remaining paper 2 more minutes of safelight exposure. Then, extending the cardboard each time, give sections 4, 8, and 16 minute exposure. This will produce a pattern of exposures of 0, 2, 4, 8, 16, and 32 minutes of safelight exposure.

E. Process the paper with the safelights off and evaluate the test. Find the exposure time of the area that first shows the ruler's shadow. You will be safe to use the safelight for about one-half of the safelight exposure time that produced the ruler's shadow. I chose to change my light bulbs from 15 watts to 7 1/2 watts throughout my darkroom, to be absolutely on the safe side. I have become quite comfortable with this level of light in my darkroom and feel very safe during any reasonable length of developing and processing procedure. You can also adjust the height of the lights or use bounce lights against the ceiling. But testing I feel is mandatory, in order to know just how SAFE our safelights are for us.

Modifying Standard Developers

Occasionally it is desirable to obtain cleaner highlights in a print in order to extend the contrast and range of tones in the print. A procedure long used by experienced darkroom workers is to add a 10% solution of a restrainer, Potassium Bromide, to the working developer. This solution can be made by mixing one ounce of the Bromide with water to make 10 ounces of solution. Start with one ounce per liter of working developer.

This procedure provides a way to keep the whites clearer in the print and also add a bit of extra contrast. This will slow the paper speed a bit, so increase the exposure accordingly. Another restrainer, Benzotriazole, which

gives a cooler color has also been used for this purpose, especially with Phenidone developers.

Another chemical additive that can produce stronger richer blacks is what we call an accelerator, Sodium Carbonate. Mix 2 ounces of Carbonate to 32 ounces of water and add 3-4 ounces per liter to start. Both of these additives can be used together or separately to achieve the desired results. It is best to plan on experimenting a bit, in order to achieve the best print improvements.

Metronomes

When dodging or burning, or using other procedures, and needing to listen to the seconds tick by rather than trying to glance at a timer, a metronome is a life saver. Ansel Adams always had one going in his darkroom and would never allow any music to be played, even though he was a very fine pianist. A good used metronome works very well for the darkroom. I found one at our local pawn shop for $15 and have used it for many years.

Magnetic Stirrer

When mixing dry chemicals, a magnetic mixer is a life-saver. Mine is a Fisher Scientific Thermix Stirrer and is a blessing when needing to thoroughly mix my powder developers before storing them in glass bottles.

I obtained a 5 liter clear plastic mixing beaker at a chemical supply house and I can mix my XTOL negative developer which comes in 5 liter packages or the LPD powder developer which mixes to 4 liters. Metal beakers will not work with a magnetic mixer, so get a good big plastic one.

Compensating Timer

My most essential darkroom companion is my temperature monitoring device that hooks on to my paper developer tray. This device constantly measures the temperature of the developer and keeps my print developing time always adjusted to reflect any changes in the temperature of my developer solution. Before I had this equipment, I had to keep a thermometer in the tray and then ran hot water on my stainless steel tray before I developed a print, to bring the temperature up to near the desirable range, if it had dropped too much. It was also important that I constantly monitor my darkroom temperature and use a heater as necessary. Now I can be more relaxed and know that any temperature variations will instantly be measured by my compensating timer and will make the necessary adjustment in the time of my print developing.

© Richard Garrod