Color of Darkroom

[frobozz]

I guess that would be a B&W-only darkroom! But definitely a cool concept.

Duncan

 

[MattKing]

I wouldn't generally recommend it to someone who has a choice, but even mirrored walls can function, if pressed:

(there was a url link here which no longer exists)

Any print I've ever sent out in an APUG exchange has been printed in that bathroom/darkroom (although not necessarily with that enlarger).

 

[clayne]

No problems with Agfa, Kodak or Illford VC Resin Coat or Fiberbase papers yet. My testing when I first got these lights 6 years ago, required a minimum 4 minutes of safelight exposure because I buy my paper in bulk rolls and cut them into 8x10 sheets. So I did the 25 cent test and placed a quarter on the paper for 10 minutes at every minute. With my six assorted papers, there was no visible fogging at 10 minutes on any of the samples. I do not have a densitometer to measure minute effects that could possibly be present.

I believe you - but try it with some Foma, Fotokemika, etc. type papers and you'll quickly find an OC light won't fly.

 

[richard ide]

To properly test a safelight: expose a sheet of paper with a negative in your enlarger; then place a coin on it and repeat with other coins at different times. Testing with an unexposed sheet may not bring the paper up to threshold exposure so it may look okay; but may affect the tones of an exposed print degrading the image quality.

 

[RalphLambrecht]

No problems with Agfa, Kodak or Illford VC Resin Coat or Fiberbase papers yet. My testing when I first got these lights 6 years ago, required a minimum 4 minutes of safelight exposure because I buy my paper in bulk rolls and cut them into 8x10 sheets. So I did the 25 cent test and placed a quarter on the paper for 10 minutes at every minute. With my six assorted papers, there was no visible fogging at 10 minutes on any of the samples. I do not have a densitometer to measure minute effects that could possibly be present.

As Richard already explained, a safelight test has to be done with pre-exposed paper, otherwise, it's not valid. By the way doubling the time from coin to coin is sufficient. A more detailed description can be found here:

http://www.waybeyondmonochrome.com/WBM2/TOC_files/SafelightTestEd2.pdf

Clayne also makes a good point, that some papers (he already named the critical ones) are sensitive to wavelengths just below 600 nm. An OC filter does not work for these papers. They need a dark red filter.

In addition, I think a safelight should protect the paper for at least 16 minutes. Paper preparation (cutting to size), handling, exposure under the enlarger and development time, easily add up to 10 minutes or more.

I test on the table-top, closest to the safelight, and place the coins on pre-exposed paper for 1, 2, 4, 8, 16, 32 minutes. Then process in the dark. If only the last leaves some tell-tale signs, you're ok.

 

[JeffWorsnop]

Ok, heres where it gets interesting-- If you want the most reflectance from the safelight, then you should paint your DR the same color as the safelight lens you are using, with high gloss paint.

Rick?
White paint will reflect some of all the light that falls on it whereas coloured paint will absorb all but its own spectrum. So why would a colour the same as the darkroom light reflect more light - and would it be possible to get a paint that is exactly the same colour as the darkroom?

Cheers

Jeff ( last did physics, for O levels, in 1960)

 

[maciekz]

White works, but black is very difficult to work under with just a safelight.

I do work in black darkrooms and have no problems. There are less problems with stray light --- it is more likely that you'll notice it before it spoils some film. Also the polish & czech made enlargers leak a good bit of light, so it would be a problem with white.

 

[RalphLambrecht]

I do work in black darkrooms and have no problems. There are less problems with stray light --- it is more likely that you'll notice it before it spoils some film. Also the polish & czech made enlargers leak a good bit of light, so it would be a problem with white.

It must be easier to seal a leaky enlarger than painting a room black. It also makes for a better working environment.

 

[clayne]

An entirely black darkroom sounds incredibly depressing.

 

[MattKing]

Remember that at least part of your work in a darkroom will be done with the lights on!

I would hate to have to keep an all black darkroom clean.

 

[Philippe-Georges]

The trouble with some white paints could be that there might be UV reflecting compounds (I think BaSO4 is one of these ) mixed it to give the paint a nice and clean white glow. This is mostly done with exterior paints. This is the same trick as used in the laundry soap to give the white goods a clean glow.
The best paint to use is the one meant for kitchens and bathrooms, resisting a damp atmosphere.

Philippe

 

[fschifano]

The trouble with some white paints could be that there might be UV reflecting compounds (I think BaSO4 is one of these ) mixed it to give the paint a nice and clean white glow.

Yes, there may be but so what? Where's not a whole lot of UV light around indoors, so what difference does it make? Florescent lamps emit some, but not when you turn them off. I don't use these in my darkroom anyway because of the after glow. Incandescent lamps emit none.

 

[Steve Smith]

Florescent lamps emit some, but not when you turn them off. I don't use these in my darkroom anyway because of the after glow. Incandescent lamps emit none.

I had a 4' fluorescent in my last darkroom but never noticed any after glow or fogging.


Steve.

 

[RalphLambrecht]

I had a 4' fluorescent in my last darkroom but never noticed any after glow or fogging.


Steve.

Fluorescent lamps have a definite after-glow, which is easy to spot with dark-adapted eyes, but it's too dim to pose any danger of fogging, unless you hold film or paper right up to them.

 

[Photo Engineer]

Fluorescent lamps have an afterglow that is partly in the UV range and can fog film under certain circumstances. Kodak used tubes that were especially selected for low UV, but they used tungsten for the most part in labs.

And, as I pointed out before, the color of the darkroom is not of overriding importance.

PE

 

[Kirk Keyes]

The comment about mildewcite worried me.

I suspect there is more to worry about as far as mercury goes coming out of your local coal-fired powerplant than would be released from the paint on your darkroom walls.

 

[Kirk Keyes]

I like glossy or semigloss as it's easier to clean splashes then matte paint.

 

[David Brown]

I like glossy or semigloss as it's easier to clean splashes then matte paint.

Agreed. It is also arguable that it absorbs less odor from the chems, too.

 

[Philippe-Georges]

Yes, there may be but so what? Where's not a whole lot of UV light around indoors, so what difference does it make? Florescent lamps emit some, but not when you turn them off. I don't use these in my darkroom anyway because of the after glow. Incandescent lamps emit none.

Perhaps it was not clear enough, but I was referring to the posting about harmful compounds in paint…

Philippe

 

[Jacques Chabot]

I found I can see my B&W negative as a positive in a darkroom with a ceiling black. With the light reflecting as white on the matérial on the negative(dark) and the black ceiling see as black on the transparent part(white). Very usefull after developping negatives and for selecting picture right away.

I want try color developpement in my future darkroom. So I will use white, gray and black on my wall to be shure that the color reflection don't interfere.

 

[Ektagraphic]

Our Kodak darkrooms were matte yellow tiles and we had no problem.

Think on that!!!!!!

PE

Are there any photos out there of these Kodak darkrooms?

My darkroom, being in my basement just has grey walls...No problems

 

[Sirius Glass]

Off-white. It reflect red light nicely. Never a problem.

Steve

 

[Wade D]

My darkroom is off white except behind the enlarger which is flat black. 2 OC safelights make the 8x10 foot room nice and bright. Past darkrooms were painted light green or yellow just because I liked the colors.

 

[Early Riser]

Eye fatigue becomes an issue for many people and it's exacerbated by going from a dark dark room into a bright room to view prints. I decided to paint my darkroom white except for the area right around the enlargers which is black. If I'm working on a dense negative and I need the DR darker, I can always turn down my safelights.

 

[Jeff Kubach]

I painted my walls clear!

Jeff