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Suggestions for building a dark room


ziofanale

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I decided to start building a dark room for printing my b&w photos.

Speaking with a friend of mine (a photographer) I discovered that it might be "not so difficult" to do it yourself, and that the results (even at an hobbyist level) are good and easy to be obtained.

 

Apart from the papers and the chemicals (second stage), I was wondering for a simple but good manual (there are tones) and trying to orient myself in the choose of an enlarger..

 

I was thinking that the lenses-maker were also at the same time enlarger makers.. while I discovered it isn't so. Looking in ebay I found that the most recurring brand is "durst", there are a lot of good offers (and personally I thought enlargers were a lot more expansive).

 

I was wondering how-delicate instruments are, and if it is a good idea to find a middle range one on ebay, or if it is better to buy new it directly from a retailer (durst has also an online webshop)... and also how important is the enlarger and its optics in the printing procedure.

 

Have you got any suggestions on the brand / model? I want something not-so expansive, but not a toy.. that could give me the opportunity of printing from the beginning level to a medium one (and not too difficult to use)..

 

Also I was searching for something that could let me develop and print 35mm films on medium-large paper formats.

 

Thank-you!

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Where are you located? In the US, if you can find a Zone VI cold light enlarger that is in excellent condition you would be pleased (Zone VI was bought by Calumet). If not, I suggest you track down a really stable, cold light enlarger -- the lens will be as important and there are may good ones out there. Match what you find with reviews that you may find on Google or other search engine.

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Enlargers

Cheaper ones Durst 605, LPL etc I'd buy one with a colour head personally as you'll get smoother tones.

My favourite is the DeVere 504 with Cathomag (cold cathode) these can be got on ebay and are pro grade enlargers.

I like to have a larger size than I need as I feel you get better light (even) illumination.

Lenses

I like the Nikon El Nikkor (metal body) and Rodenstock APO lenses though schneider are also good value.

My dealer has a Leitz Focomat for peanuts right now, tempted- but I haven't the space.

Mark

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I used a Meopta Opemus 6 with Meograde head until I bought a Devere 504.

I bought the 504 as I have LF kit. If I had the space in my darkroom, I would reinstall the Meopta for 35mm and medium-format work.

 

I think Meoptas are pretty good. They look a touch agricultural, but they are robust and well made.

 

As far as enlarger lenses are concerned, Schneider, Nikkor and Rodenstock are all worth looking out for. They can be picked up for a song on Ebay. I got a 150mm f5.6 Rodagon for £25.

 

Go for the f2.8 lenses if you can.

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charlie.....

 

i dont know where u r from so......

 

 

im devloping a website dedicated to analog foto (incl darkroom etc) but was bussy recently and couldnot go on further with it.......

 

 

anyway...... meanwhile......

a few basic recommendations :

 

 

1. good enlarger is important...... second had . i cannot help u , it depends on condition.. it will be better to get good LPL than bad DURST or DEVERE ......... so difficult to talk about it.

first rate enlargers ....... KEINTZLE the best sysetems i guess, DEVERE is also top, DURST but not sure if in production these days, and KAISER is cool system too almost as good as kientzle top and devere but only up to 6x9........ another great 6x7 is dunco...... all of them can fit in various budgets relativly flexibaly......

what is your max size????? the meopta (as one of te memebers noticed) is great budget if u buy new....... the magnifax is super even when u go for big enlargements....... it can take 6x9 cm by the way.......

 

2. lenses........ schnieder componon-s adn aporodagons........if not those top ones then i think no point to buy other versions of those brands and better to get nikon taht is really good (which should be cheaper i think)......... the germans will give u apparent edge gradually only when u go for bigger enlargements (9x12" and up on 35mm format), otherwise, the nikon can be just as good......

 

3. get the room well pripared for darkroom works........ air cleaner filtration (not all of tyhem are super expenssive and worth investing if u plan to spend time in darkroom)...... make sure no leaks of light, and find a nice solution for doors.... rotating are expenssive ones, the curtain like are cheaper and effective even if not as comfortable as rotational doors...... make sure that all the water ins and outs and electricity is good .......

 

4. sinks............ ok, it is nice to have a huge full size sink but not neccessary....... define your max size prints and build your darkroom for one size bigger ......

u can put the trays on normal long table that can fit your max print sizes...... and u will need only relevant size sink for washing rinising throwing water etc....... if u gonna print up to 9x12" then make sure that u can comfortably put in your sink a tray of 12x16".........

 

 

another important thing......... mark anthony mentioned it........

the light of your enlarger head is super important..... if u really want bigg enlargenemnts (8x10" + or 9x12 " +) then i think 100w enlarger of diffused head is not enough ... this is because u will loose luminocity and u will need to punch youur negatives with extra development for good contrast and that will reduce the quality slightly, and also, your exposure times of enlarger will be too great........ a good light head will give u room of much better illumination when the enlarger head is high up above the paper...... 250w on diffused head or 150 on condensor are very good.......... the 400/500 w diffused is the best of course since it will push your film to much better quality blow-ups....... u will feel it when u start going to 12x16"+ with 35mm...... this is one of the things where pro grade enlargers have a clear advantage (not only the stability of the body)........ ah .... of course with strong light head like 400w u can always reduce the strenght when u dont need it (it is called ND and usually gives 2 stop light reduction room)

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Thank-you everyone!!!!!

 

Now I have a lot more clear ideas... I think I am also going to look for a medium-level enlarger with a strong lamp for big prints! ..

For first I think I am going to look for a good manual.. (the room I want to change to dark room is almost ready except for the ir ligt, .. and completely dark) .. then probably to listen to some prices in the camera shop where i usually go.. But now I know exactly what to ask for!

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I started as a child in my parent's cellar. It works but is not brilliant, b&w is quite tolerant. However spending some money and time for enlarging now, I would target a very good quality. If one is going through the trouble to set up a dark room nowadays, I would try to get some temperature controlled environment (at least for the basins). Cleanliness is also very important, so lab style sinks would be ideal. Maybe you are lucky to buy some equipment from a discontinued lab?

 

For the enlarger I would make the rather obvious recommendation to match the lens of the quality to the lens of the camera.

 

For testing the 'darkness' of your room I would recommend to spread some photographic paper on the working area while the lab light is switched on. If the developed paper does not show any fog after some hour of exposure, the lab should be OK.

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...just saw a flyer from the local DIY market, they sell basic style kitchen furniture at a low price. Something like this would be ideal in my view.

 

My recommendation would be also to seperate 'dry' and 'wet processing' (no developer stains at your expensive Apo-lens ;) ). The 'dry' area needs space for the enlarger and at least enough space to put one large piece of photographic paper. Ideally there is also space for a paper cutter. A (ideally light tight) compartment to store the papers should be at hand when sitting at the enlarger (I had an old typewriter desk).

 

As mentioned the size of the wet area is defined by the basins for developer, stop and fixer baths plus some space for rinsing the papers. Ideally there is a fridge for the chemicals. Some clothesline to dry the papers would be helpful as well.

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Actual still in production European enlargers: Dunco (6x7), Kaiser (6x9), Kienzle (8x10") .

Pretty good top models of previous Durst production L1200 (4x5") , M805 (6x9). Amateur models M605 (6x6), M70 (6x7).

Devere (4x5") . Meopta Magnifax (6x9).

 

Enlarger lenses: Schneider Companon, Rodenstock Rodagon, El-Nikkor but also Meopta Meogon is certainly not bad. Top models are the APO-Rodagons.

 

Try to make a seperate part of the dry and wet part of the dark room. You can indeed start with a kitchen block for the wet part. Make a stable seperate part for the enlarger.

A fridge is easy for storage of C41/E6 films, IR films and RA-4 color paper, not really necessary for B&W films and paper, not for chemicals. Best temperature for chemicals is in the dark and 10-20 degrees C. Fridge is too cold for a lot of chemicals and and some developers can crystalize and then it is very difficult to get it in the solution again.

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