Darkroom Layout - Comments appreciated

[mgb74]

After a very long hiatus from printing, I'll be building my darkroom soon. It's inside a room that will be used as an exercise room. The attached pdf shows my proposed layout, existing drain, and existing walls. The room is not yet finished, so plumbing can be run inside the walls. I can ventilate, so I don't need "volume" to help air quality.

It's intended to be a darkroom to be used by one person, with an occasional guest. One primary enlarger (Omega 4x5), though it would be nice to set up a B-22 as well. Max print size would typically be 8x10, occasionally 11x14.

The layout shown is 6' x 8.25'. I could potentially increase each dimension by 1/2 foot (with the exception of the area where the 6' sink is) but I don't want to do that unless there is some material advantage.

I have a nicely constructed 32x32 "cubicle" for the enlarger with an adjustable base, allowing me to print up to 16x20. I don't have to use it, but would like to. It would have a wall on one side and high side on the other.

I also have a Delta 22.5x72 plastic sink that I plan to use (inside dimensions are 19.5x69). My current thinking is that the sink would accommodate 3 11x14 trays plus a 16x20 for rinse/hold. Behind the 16x20 would be a plexiglass sheet to allow me to view the wet print.

The purpose of the second (smaller) sink is to allow use of print washer while the large sink is full. I'd build a cover over it to allow use as a flat workspace. But I'm not sure this is really necessary as I could set up the print washer (which I don't have yet) after the print session is done. Or perhaps I could use a "flat" washer and eliminate the 16x20 rinse tray. I don't plan to develop film and print concurrently.

I don't think I need quite as much distance between the 2 sides of the darkroom, but it's governed by the door opening and the space required for the enlarger. I could conceivably increase the width to 6.5' (except the long sink area that constrained by existing walls) and have more workspace next to the enlarger.

I would dry film either about the sink or build a small cabinet between the wet side and dry side along the existing wall. Storage would be shelves and cabinets above the flat workspace, above the enlarger, and under the sinks.

Notwithstanding the fact that bigger is usually better, I'd appreciate comments on the layout and the value of the 2nd sink. Also, am I missing something important?

Once the layout is finalized, I can address electrical (I have a dedicated 20amp circuit running to this area).

Thanks.

 

[MattKing]

It looks like a workable space.

One thing that I would miss is a work area near the enlarger with space for paper storage and a paper cutter. You might be able to create the space if you moved the smaller sink over to the wall where the drain is, and create an "L" of sinks.

Also, I don't know whether I would like having the enlarger right beside the door.

My $0.02.

Matt

 

[Barry S]

I see a lot of sink space, but practically nothing as far as dry work area. Do you absolutely need the second smaller sink near the enlarger? Because if it was me, I'd make that whole side dry workspace.

 

[Jon King]

Perhaps put counter space along the back(8 foot wall?) with print washer along the existing sink? The corners are a bit less accessible, but that would give considerably you more dry space - area for negatives, paper, etc. I'm also planning to make my sink so that I can easily cover it for some more dry space if needed.

 

[Steve_7x]

If you are going to take the print washer in and out of the sink next to the enlarger - I would suggets the following.

make the whole side where the enlarger is a dry side. Print and hold your prints in the water tray until you are fully ready to wash. When done, empty your chem trays, clean them, and put the print washer in that sink. Transfer the prints from the water tray to washer, clean the tray out.

I feel you need as much dry work space as you need wet.

When I make 16x20 or 20x24 I use a 20x24 washer. I built a cart that the washer sits in and I wheel it out when I work, and wheel it back in and connect it when I am ready to wash. The washer is high enough so that the water drains out etc...

Make sure you have at least two spigot on any sink... that way you can be washing prints/film and use the other to do other clean-up or mixing chem etc...

Consider storgae space for chemicals, paper, trays, graduates etc... it is amazing how much "stuff" you need to store.

One thing that I did is I made a paper safe under my enlarger. This provides quick access to paper to print, but when I want to turn on the lights, the paper is safe and does not take up counter space.

Good luck!

Steve

 

[Monophoto]

I agree with others that you really need some dry space next to the enlarger.

If you have lots of space, having a print washer is convenient. But if space is limited, I would strongly suggest eliminating the print washer. You can let prints accumulate in a holding tray (of plain water), and after the printing session either set up and user a print washer, or else just let your prints soak in a succession of trays of plain water (which uses a lot less water and is just as effective as a print washer).

You indicated that you plan to have drying space above the sink - is that negative drying or print drying. You can easily use space under a sink to accommodate screens for print drying, but I would recommend using the space above the sink for a shelf for chemicals. Keep the chemicals on the sink (wet) side, and keep paper and other dry stuff on the enlarger side.

Alternatively, there is nothing wrong with setting up a rack of screens outside the darkroom (in the workroom area) for drying prints. But I think you want to dry film inside the darkroom where you have better control over dust.

You didn't mention which formats you will be working in. If you are using LF, then you could just have a series of hooks along the front of the shelf above the sink from which to hang negatives to dry. Keep them soaking until you have completed everything else in the darkroom, then hang them to dry and quickly walk out and close the door. You could do a similar thing with roll film - either hang it from hooks on the ceiling, or else have a shelf along the long wall facing the door with hooks underneath for hanging film. Given the area you are working with, that may make more sense than trying to accommodate the footprint of a drying cabinet.

You didn't say anything about ventilation. Having good ventilation makes working in the darkroom much less tiring. You should exhaust over the sink. Positive pressure ventilation (in which the fan forces air into the darkroom) is better than a negative pressure system (in which the fan extracts the air). By the way, having the fan totally outside the darkroom is really a great idea because it cuts down on the noise.

Safelights - you could probably get away with a single safelight if you centered it along the long wall and reflected light off a white ceiling.

 

[jeroldharter]

Agree with using a dry side and wet side. Do away with the second sink. Put the print washer on a cart, ideally with an accessible floor drain. You could dry film a a DIY film dryer. Check out the vinyl closet wardrobe from Ikea for a cheap option. String up retractable, vinyl covered clothelines about the sink for print drying. Paint the corners around the enlarger black. A magnetic whiteboard on the wall next to the enlarger is handy for notes and printing diagrams. Get anti-fatigue mats if you can afford them. Again, Ikea might have something useful. Add more electrical outlets than you think you need, including near the ceiling for plugging in safelights. I would have at least 3 water outlets at the sink for film washer, print washer, and general use. I use bib fittings like in a chemistry lab connected to clear vinyl hoses and quick disconnect fittings from US plastics. to save sink space, use single tray processing. With 8 foot ceilings, you might want a drop table setup on your enlarger. Sorry for the run-on. Lots of good ideas here. check out the darkroom pics on the forum also. Lots of pics to study.

 

[Monophoto]

To Jerold's point about anti fatigue mats - absolutely. You can find packages of four 2ft square interlocking rubber mats at Lowes for about $16, or about half that at Harbor Freight.

 

[R W Penn]

Are you left handed? I would start work flow left to right enlarger left side of door and work to right for a right hand.

 

[resummerfield]

Like most others, I think you need more dry space. I would build a countertop along the wall opposite the door, maybe only 18 inches deep to accommodate the print washer (which could drain into the sink), then continue the countertop at 24 inches deep along the wall with the enlarger.

With your small physical area, I would set up a film and print drying area outside the darkroom.

 

[Larry Bullis]

If the door weren't right in the middle of a long wall, you could turn the design 90°. This would eliminate one step between the enlarger and the sink. Not that big a deal, really, unless you are printing all day sessions but it is great just to turn and there you are. Some things you can't do anything about.

 

[mgb74]

I appreciate all the comments and suggestions. BTW, most of my work is medium format, with some 35mm and - in the future - 4x5.

Version 2:

I'll ditch the second sink and either wash at the end of the printing session or install a washer below the sink (a floor drain is not an option, but I may be able to cut in another drain close to the floor). I like the idea of a cart below the sink.

Moved the enlarger to the other end of the dry side. Pulled the wall out 1/2' which now provides just over 4' of workspace inside the darkroom for work that cannot be done in daylight. Table outside the darkroom is 5' long and for work that does not require safelight (or no light).

If necessary, I can add a fold down table between the enlarger and the sink.

I have 2 Kodak 8x10 safelights, a 6 in safelight, and one Thomas safelight. I think the Thomas will be too bright in this size room and will try the 8x10s first; plus a 6 in over the sink (I didn't show the electrical boxes and switches for these). I plan to build a water distribution panel above the sink outside the wall. So I'll start with at least 2 faucets and will be able to easily add a third later.

Most outlets will be 2 gang (i.e. 4 plugs).

I could turn the layout 90deg (see 2a). But that reduces the space between the wet and dry sides to 2 ft. My concern is that this is too little. It does, however, increase the workspace (even though the workspace is a bit choppy - the enlarger can't go against the wall where the door is and allow enough space for rough-in).

 

[Larry Bullis]

....
I could turn the layout 90deg (see 2a). But that reduces the space between the wet and dry sides to 2 ft. My concern is that this is too little. It does, however, increase the workspace (even though the workspace is a bit choppy - the enlarger can't go against the wall where the door is and allow enough space for rough-in).

I think in any small darkroom, the placement of the door is critical because it modifies and constrains the space so much. It seems to me that the best place for the door in your room would have been in the center at one end or the other, which of course isn't possible, and maybe the room being 6" wider would be preferable. Not going to help you much, but for the rest of us with new darkrooms in our future, some important considerations. Most of the time, we are trying to fit into an existing space, as you are, and that always presents challenges.

This is very interesting - just seeing your design process. I'm planning on building my darkroom in a utility trailer so I can drag it around with me. On the basis of what's being discussed here, I guess I'll opt for the 7 foot wide trailer rather than the 6. Also impressed that the darkroom you are going to have is about half the size of what I've been planning. Of course, I won't always have storage outside of the room, so it will have to be somewhat bigger if just for that. I may also need to make room for a platemaker and maybe a small intaglio press.

You know, if you can find an old copy of the Photo Lab Index it had a great section on ideas for darkroom design - including installation in a trailer.

 

[Mick Fagan]

Effectively your PDF layout of the door location and main sink, is the same as my current darkroom.

The differences I have are that I have a longer (deeper) darkroom and slightly wider than yours.

On your back wall I have a free standing 4x5 enlarger, prior to that I had a wall mounted 4x5 enlarger there, prior to that I had two other enlargers, one with a drop position slide in table. I could drop the table by sliding out the top and sliding it into a lower set of wooden slides, with the lowest I could go, being about 150mm above the floor.

Where you have your second smaller sink I have a shelving system that has a bench height shelf running the entire side wall back to the door wall. Inbuilt into the bench, where you have your enlarger, I have a light box which is long enough to stretch out a full roll of 135mm film. I could not envisage a darkroom without an inbuilt light box, been using an inbuilt light box since the mid seventies, possibly the best accessory ever for getting clean negs, along with compressed air.

Above my bench I have another two shelves, which are recessed, or about 55% the depth of the bench. These are great for storing all sorts of things, namely boxes and boxes of work prints and my negatives. I keep about 20 years of negatives in the darkroom, older ones are stored elsewhere, one of lifes compromises with the other half

Under the bench there is another shelf which is about 60% of the width of the main bench, this holds mostly bulk chemicals and current opened boxes of paper. Below that I have floor storage where the bulk liquid chemicals are stored. At the enlarger end on the floor, I have the small air compressor, plus the stabilised power supply thingy.

I have a chair on wheels with which I roll between the enlarger, light box and back and forth to close the door for exposures and/or when I need a light tight room. The sink is standing height and is positioned (and built) so that I can lean slightly forward then rest my elbows on the wide edge (plastic currently) and lazily watch a print develop, or the Jobo rotate, or inbetween tank inversions, you get the idea.

Under the sink I have an electric HWS of 35litre capacity, this ensures I have more than enough capacity for any process, plus it also supplies hot water for the sauna shower in the back yard. Alongside the HWS I store my trays, plus I also have a couple of plastic buckets of glass marbles.

For lighting I have white painted walls and I have two Kodak 8x10 safelights facing the floor at the 10 O'Clock and 2 O'Clock positions, above the door and facing the ceiling at an angle of approximately 60º is another safelight which is an old Kodak 10x12".

You would be extremely surprised at how much illumination can be obtained with a safelight pointing towards a light coloured ceiling. When I'm doing long and involved print exposures, I switch to the single ceiling safelight. With the reduced illumination I find it easier to see the image on the paper, plus there is the reduced risk of fogging with the paper being so far away from the light source. My safelights all have their own switches, which are above the door.

For white lights I have a trio of 60W globes running pearl glass for a more even illumination. These globes are switched off by a ceiling pull switch, which has a string attached. One switch is alongside the enlarger and can be reached by my left hand. Once I am ready I pull the switch and the white lights go out, the safelights are on all the time, I expose and then develop, when ready and whilst standing at the central part of the sink, I can reach up to another ceiling pull switch cord and turn the white lights on. Either of the two pull switches will switch the white lights on, or off.

I like the isolation of the white light switches by the use of a hanging cord. No matter how good one is, at some stage, you will switch the lights on with damp hands. Over time, there is a possible current leakage waiting to happen with a switch body, plus wet, or damp fingers.

Some of the things in my darkroom.

Mick.

 

[dancqu]

I see a lot of sink space, but practically nothing as far
as dry work area. Do you absolutely need the second
smaller sink near the enlarger?

I'd keep the small sink and dump the big one. For myself
a water proof counter is a much more versatile work surface.
The small sink placed at left is then for mixing chemistry, wash
up, etc. Sink the small sink counter deep. Plug in a flush cover
when not in use. WOW! Talk about dry work area!

Consider counter mounting of that enlarger. Dan