You cannot handle any camera film under any kind of light. Film has to be handled entirely in the dark until fixed. There are some graphic arts films that can be handled under red light. Lithographic films are an example. A lot of films have either gone away or have been reformulated since I learned this stuff. I remember one time loading film and realizing after a few minutes that I could see what I was doing.
No harm done, the film was fine, but I closed off that light leak right quickly. It sounds to me like the room you have will be dark enough on it's own, but if you really want to make it darker, hang a blanket in front of the door. Ben's method of determining if a room is dark enough is the classic method and is still the best one. I use film instead, and test for 15 minutes. Posts: 2, You can't have any light at all for any common film type.
I'm not sure what size film you're dealing with, but normally you'd load your film in a changing bag, not a darkroom. You wouldn't use a darkroom to process film. Originally posted by tibbitts. Photos: Gallery Albums. It sounds like the weatherstripping idea is best for that door, anyway.
You can probably use the inexpensive flat foam kind for doors, and just tuck it in the gaps: it comes in a few thicknesses, and no one'll ever see it. And there's the clay-string kind which can basically do anything. I like to use a changing bag to load my tanks, regardless.
After one had become ruined, I used to use the bedroom comforters at night, which wasn't precisely convenient, but perfectly adequate. If conditions aren't ideal, you can also put a cardboard box on your table and work inside there: it'll basically block any stray light, too. Originally posted by Wheatfield. Heck, if you have a darkroom set up and it's sufficiently dark, there is no reason to use a dark bag.
Bags are clumsy to work in. I only use them when I have no choice, such as when changing film holders in the field. Well, its not that spacy. But its still cheaper than buying anything like changing bag , already available, possibly more easy to change and probably most sutable for chemical work sink, water, ventilation, tiles.
It seems that the only source are doors, still there is a theoretical chance that light might bounce in trough ventilation system, but it had to take long way trough grill, matte concrete walls and dimly lit attic and what not I plan on sticking that long tube like foamy thing it seems to be called "Self adhesive weather seal" around the perimeter of doors, but im not sure how light proof it is.
Something like this in a way like that attached :. Attached Images. Posts: I had the same problem converting a mostly unused bathroom to a darkroom, but trying to keep it easily reversible. I added a black curtain over the door floor to ceiling and had no problems after that. I'm turning my basement into a darkroom and I gotta cover up the windows. I plan on going to Home Depot and picking up some black landscaping polyurethane on a roll.
The weather stripping is a good idea. I put extra wide door stops all the way around and stapled black fleece around it, seals up great.. Dec 9, Depends on what you're doing Developing film in trays? You really want it pretty close to totally dark. You want it pretty dark, but some light around the door is probably no sweat. I've been in several group darkrooms that don't even have doors, just black, S-shaped entryways. Contact printing Azo? You're probably okay as long as you don't actually turn the lights on.
Don't forget that film and paper have reciprocity failure and thresholds, so a little bit of light is not seen by these materials. Unless you are getting a direct reflection, you are okay. If you need it darker, close you eyes. Unless you are doing lots and lots of film in trays and light is hitting directly Paper ISO is sooooooo slow anyway.
Messages: 4, Is this darkroom you built a seperate building? If it is and you see daylight at the bottom, just remember when the wind is blowing, dust or snow at your elevation will be coming in that crack.
I would do like Sean did. Daft as it sounds the more natural light I can keep out of a darkroom, the easier I can see using the safelight. I find when there are even small leaks the room doesn't seem as evenly illuminated by the safelight.
Messages: 2, After five or so minutes develope the paper. A different view of this question. Dust is also coming in that crack under the door. Browse our Darkroom Equipment section to see the full range of kit we sell. The first thing you are going to want to do is to make a contact sheet of your negs to see which ones are best for printing.
Our Negative Storage Boxes are perfect for transporting your precious film negatives to and from the darkroom. Read our Guide To Film Storage to find out how to store your film negatives safely.
Before you go into the darkroom to print you will have to choose a darkroom paper to print on. You will have to think about the tone and surface of the paper you want to use as there are several options. Read our Guide To Darkroom Paper for more help in choosing the right paper for you. You will need chemistry to develop and fix your image to the paper.
Some darkrooms might provide this for you, others will want you to bring your own. Either way, it is good to have an understanding of what you are using as it will affect your final prints. A specific paper developer, which is different from a film developer, needs to be used to develop the image on your paper. While stop bath and fixer are the same for film and paper and can be used on both.
There are also additional products, such as Wash Aid, that will help speed up the washing of your prints. Over the years I have known people who could not do darkroom work because they were allergic to the chemicals. And a legendary local photographer I met during my youngster photo years, Ham Gillespie, always had crusty fingers stained brown.
Best practice not only to avoid touching the chemicals but also to avoid contaminating the developer with the fixer is to use two rubber-tipped darkroom tongs. We choose pictures to enlarge based on our contact sheet using, probably, a magnifying glass or loupe. Each frame has a number next to it. Considering prints that look worthy, find the corresponding number on the film.
Note: you will save yourself lots of irritation by being organized. Save each film in a separate envelope, and number that envelope corresponding to each contact sheet. Try to avoid shifting the negatives in the envelope, as they can scratch each other, and handle mostly by the edges. Fingerprints transferred to a print are nearly impossible to remove using Spotone.
Wash your hands; clean hands will save many a fingerprint or cross-contamination annoyance. Use a clean brush or better yet compressed air to dust your chosen negative. Turn off the overhead lights. And maybe a radio. Pull the enlarger head up or down to reach the size you want, and consider cropping. Focus carefully. Many photographers use a grain focuser for more precise work. This viewer enlarges the film grain in an eyepiece so you can focus perfectly.
Run a test print. Cover 80 percent of the sheet with a piece of cardboard. Each 10 seconds move the cardboard away to uncover about 20 percent more of the sheet. That way you can see several possible exposures and so determine the best.
Or if you want to do it the less wasteful way, as I do, cut one sheet into several strips. Place a strip under the enlarger, and expose as you guess might work best.
Adjust based on what you see. You may have to do several test strips. Sometimes—well, most of the time—areas of the image will be too dark or too light. An ideal black-and-white print retains detail in both the highlight and shadow areas. That is, no large area is completely black or totally white. To obtain this detail, you may need to hold back light from the parts that are too dark called dodging or add light to the areas that are too light called burning in. A face in shadow often needs dodging; an overcast sky often needs burning.
Dodging is done using a usually hand-made tool consisting of a wire with a small piece of cardboard taped to the end. During part of the exposure, move the tool around the area to be dodged. The tool must be continually moved, or the wire will show up in the final print.
Burning in may be done with a cardboard into which a hole is cut, or simply with both hands held to add more light to the appropriate area. Again, keep moving. Finicky photographers may enhance the intensity of the shadow areas D-max by using another chemical, typically selenium toner.
After washing the print, leave in diluted toner as indicated in instructions. Selenium toning also guarantees an archive-stable print. It will last for a century, probably more. We have a century of experience evaluating the longevity of silver-based prints: those produced even years ago still look good if they were not exposed to sustained intense light. The key to permanence is to carefully wash away all traces of fixer, as it is that chemical that spoils prints.
0コメント