| is day and age, the darkroom almost seems like an | | | | over to the stop bath. |
| outdated inconvenience. Why spend time in a dark, | | | | 2. Stop Bath – The stop bath will prevent your |
| smelly room working to get the perfect print when you | | | | image from developing any further by neutralizing the |
| can upload them and photoshop them to perfection? | | | | chemicals found in the developer. If you’ve |
| There is no doubt that digital is more convenient and | | | | ever been in a darkroom, the smell you remember is |
| flexible than film, but sometimes it's fun to spend a little | | | | the stop bath. Feel your image to see if you can move |
| time working in the dark. If you have never been in a | | | | on; paper that has been properly stopped will squeak |
| photo darkroom before, this is your dark room guide to | | | | when you rub your fingers on it. This should only take |
| getting started. | | | | a few short minutes. |
| We’ll skip developing your film and getting | | | | 3. Fixer – While the stop bath will stop the |
| supplies for now and just talk about the actual | | | | effects of the developer chemicals, your paper will still |
| process. | | | | be sensitive to light exposure. Fixer is the last chemical |
| Making Prints with an Enlarger | | | | in the process so once your print has soaked in this, it |
| An enlarger is a machine that turns your film into large | | | | can be exposed to light without ruining the image. You |
| printed photos. It does this by projecting light through | | | | don’t need to soak your images in fixer for too |
| your film and onto the surface of your photo paper, | | | | long, but 5-10 minutes depending on the chemicals and |
| exposing the light sensitive chemicals buried inside. | | | | paper is usually a safe bet. |
| In order to print a photo, you’ll need to line the | | | | 4. Rinse – Naturally you’ll want to rinse |
| frame up with your enlarger’s light source, | | | | your photos of all the harsh chemicals you’ve |
| project it onto the blank mat, and ensure it is correctly | | | | soaked in them. Most dark rooms have a sink and a |
| focused (usually by adjusting a knob on the side). | | | | rinsing tub with a continuous flow of water so you can |
| Make sure you can clearly see the grain of your | | | | leave your print there as long as it takes to remove all |
| image otherwise get a magnifiying glass to check. You | | | | of the chemicals. This is a good time to print some |
| need to play with the exposure timing to make sure | | | | other shots from your roll! |
| the image turns out okay, then you should be just fine. | | | | Once you have enlarged, developed, stopped, fixed |
| The Chemicals | | | | and rinsed your prints, place them out to dry in a safe |
| Once you’ve decided on the correct timing and | | | | place or use a photo dryer. Don't forget to rinse your |
| exposed a full photograph, it’s time to get your | | | | prints well because if you don't, your photographs will |
| hands dirty. Darkroom chemicals have a smelly and | | | | turn brown over time from the chemical residue left on |
| distinct odor and will ruin any clothing they come in | | | | the print. Pick up your dry images and put them in a |
| contact with so make sure to wear an apron or wear | | | | heavy book to straighten them out (a little curling |
| old ratty clothes. The chemical process can be broken | | | | isn’t unusual), then frame and hang them. |
| down into four steps: | | | | The darkroom can seem intimidating, but once you |
| 1. Developer – Soak your paper, which will still be | | | | have a bearing on the process you will enjoy printing |
| completely white, in the developer. This chemical will | | | | your own images. It’s a great way to get away |
| activate the photo paper and over the course of a | | | | from the world for a little while and focus on your art |
| few minutes you’ll start to see your image | | | | (bring a radio if you can) and provides you infinitely |
| come through. If you’re unhappy with the | | | | more control over your final images than having |
| contrast or exposure levels, head back to the enlarger | | | | someone else print them. Just remember to check |
| and adjust your timing. Once you have an image you | | | | before turning on the lights or you may just ruin |
| like and it has fully developed, it’s time to move | | | | someone's photograph! |