How would you start (or taught someone ) darkroom printing in 2024?

[Hilo]

Darkroom work can be a total pleasure when you take your time. When you are in a rush the experience can be very frustrating. This does not mean you can't at first get good results. You can. But this will be a different story for everyone. Accept the step by step approach and avoid shortcuts.

Remember that fiber papers dry up darker, switch off your telephone and do not keep the darkroom too dark.

 

[Philippe-Georges]

I have taught film developing in the past.
I always started with a kind of a tour on the equipment needed for that: tank, reels, timer, thermometer, measuring beakers, storage bottles, chemicals, a totally dark place (yes) and so on, and why you need these.
Then explained what the goal was and what the steps and (basically) the chemical 'reactions' were meant for.
Then how to load a reel in the dark.
And at last the real doing...

And when this was success, then I gradually started talking about refining the processes.

 

[Two23]

Hi,
if you were to start darkroom printing now and had the knowledge/experience you have, how would you go about it? Or you had to teach some beginner.

I have the possibility to lead a course, but I don't quite know which way to go. I myself use f-stop printing, of course VC papers and mainly split-grade technique.
But I read some opinions that one should start with the basics. I saw the program of some course in our country where they start with graded papers and condenser head.

Why start with a graded papers when it is rarely used today? And f-stop printing seems to me to be a much more logical choice for photographer.

Thanks for your opinion.

I actually did start dark room printing this year for the first time! I'm at retirement age. I talked to the photography professor at our only college left with a darkroom--about 45 minutes away. He let me come in once a week during an afternoon and showed me how to use a Beseler 45MX enlarger. I made prints from 4x5, 120, and a couple of 35mm. He also showed me how to make 5x7 and 8x10 contacts using the enlarger. I used multigrade paper (mostly Ilford RC warm tone.) The school used Ethol paper developer but I bought Ilford Multigrade for my own use. It was great! I loved working in the darkroom and miss it. The school had some small enlarger that had been donated and he gave me a Bogen 22A in nice shape. It had a 35mm carrier but I'm looking for a 6x6 one too. I replaced the 50mm Voss lens with a Rodenstock 50mm. I've set up a makeshift darkroom in a downstairs bathroom. I have a large space that's not being used in our basement and am negotiating with my wife for it. I'd love to get a Beseler 45MX. I really don't shoot much 35mm. Most often I shoot 4x5 or 5x7, although I did just buy a Bronica SQ-A. I shoot Ilford FP4+ almost exclusively.
I'll mention that I've been shooting film for over 30 years, have been developing b&w for 4 years, and also shoot wet plate. I was already comfortable with many of the skills needed for printing.


Kent in SD

 

[blacksquare]

Well, I have something to think about. Thank you all for your opinion and experience. I will definitely give some feedback.

 

[~andi]

I'd go by target audience and intention.

If its the artistic people and you like to show them another tool for expressing themselfes, I'd forego the f-stop printing, zone system and all that technical stuff. They can learn that later if they like. Let them explore by trial an error. Starting with simple photograms, using a metronome to time exposures (or, ey, count in the head). Also i'd keep the film processing section as short and simple as possible (nothing more boring than film developing imho). One developer, one time, get it over with quickly and fix mistakes in the interpretation of the negative during printing. Paramount as said before. Take it easy. Phones off, take the time, slow down.

If you have the technical crowd, who want to get the most out of the materials, waste the least paper, and create a print with all zones in at and what not, then go crazy with fstop, split-printing, metering, densitometers, test-stip methodologies, computer controlled LED lights, silver recovery, maximum use of fixer, two bath methods, testing of thio residual, etc., and what have you. It might help to start with a couple of theory lessons before actually going into the darkroom.

Neither is better or worse than the other, just depends on the MO of the people you have there.

Best
~andi

 

[koraks]

That's a very useful distinction, @~andi.

 

[hiroh]

I attended a 5-session workshop this year:

1. Getting familiar with the darkroom, equipment, paper, and general orientation.
2. Making test strips and learning exposure.
3. Making contact sheets.
4. Filter grades, (not a word about split grading).
5. Special effects in the enlarger, solarization, photograms, double exposures, etc...

It was a good experience, but after the first session, I felt ready to continue on my own. I thought I could learn faster and more effectively by experimenting independently every day, rather than attending these sessions once a week. After the last session, I was going into the darkroom several times a week and, in the meantime, reading this forum and other resources to prepare for my next session. I’d say it’s helpful to have someone show you how to get started in the darkroom, but a long-term workshop isn’t necessary. With the internet and so much free knowledge available today, anyone can learn on their own.

That's just my opinion. Other students who attended the workshop may disagree.

 

[Jim Jones]

I rarely made test strips. They are certainly valuable, but too time consuming. Considering each print as a learning experience for all future prints is one of the best learning tools we have. That includes observing the image on the easel and guessing at the ideal exposure and paper grade. Compare that guess with the finished print. Your guesses will become more and more accurate. This works best when everything, especially ambient lighting and temperature, is constant. Even a basic enlarging meter is also valuable. My beginning experience was somewhat like Hiroh's, but long before the internet. However, we did have a few books and photography magazines.

 

[GregY]

Hi,
if you were to start darkroom printing now and had the knowledge/experience you have, how would you go about it? Or you had to teach some beginner.

I have the possibility to lead a course, but I don't quite know which way to go. I myself use f-stop printing, of course VC papers and mainly split-grade technique.
But I read some opinions that one should start with the basics. I saw the program of some course in our country where they start with graded papers and condenser head.

Why start with a graded papers when it is rarely used today? And f-stop printing seems to me to be a much more logical choice for photographer.

Thanks for your opinion.

I would leave out graded papers and start with VC since they are the most common. If you're using your own darkroom when i guess f stop printing because of your equipment. Otherwise, i wouldn't go there, since there are thousands of non f stop timers available and in use. Unless i was using LF negatives, i wouldn't begin with contact printing.... or split grade.... keep it all straight forward and simple.....

 

[RalphLambrecht]

Exactly. Doesn't sound very reasonable to me.

I'd frankly start with whatever enlarger(s) happen to be available, regardless if they're condenser or diffusor, color or B&W. There's always a way to do variable contrast.

I'd definitely start with the basics; i.e. get the students to print at a single grade (around 2-3) and let them reflect on the outcome. first make them familiar with the effect of exposure; i.e. have them make test strips and some full prints and teach them to recognize an over- or underexposed print. Also let them figure out why even their best exposed print still looks like crap, and use that to teach them about contrast, and have them make prints at several grades from the same negative.

At this point, they have a basis in the sense that they should be able to make a print from any given negative with the entire range from full black to paper white. You can then take it whichever way you'd like. I'd probably start by teaching them about burning at this point. Others might prefer taking them into a split-grade printing direction. Yet others might want to introduce them to flashing, or perhaps even Sabattier/solarization, chemical modifiers (selective bleaching, toning etc.)...

Whether you teach them to think in terms of stops (i.e. f-stop printing) or seconds ('old-skool' printing) - YMMV. Either way, they'll figure out (with your help!) in the process of making test strips that density is logarithmic. I'd personally teach them seconds instead of f-stop printing if only because most existing timers out there are seconds-based, so it would teach them an approach that's most likely to work with an enlarger they might end up owning themselves. I'd probably relegate mention of f-stop printing to a side note and only go into it in the margins of the class with those who express interest in it.



It's a matter of personal preference, too. You'll find a couple of threads about this where people still split out pretty much evenly into either side. F-stop printing is the most logical choice if you prefer it. If you don't prefer it, it's awkward and unnecessarily complicated. And then again, someone used to f-stop printing will argue the exact opposite...I wouldn't assume an absolute, objective superiority of either system at this point. Having said that, you don't really get around teaching people about the concept of a "stop" at some point, so either way, the smart students will end up realizing it's just two different ways of ending up with the same result. There will also be students who are more pragmatic and/or prefer to be taught a certain, set way that they can reproduce without having to understand/think too much, and for them, it doesn't really matter which way you choose to teach them, as long as you're clear in the steps they need to go through.

I think the main challenge is really to adjust the pace and direction of your course to the abilities and interests of the students. The first 2 or 3 sessions you may be able to fix ahead of time because you'll have to cover some basics. Beyond that point, I'd try to be flexible and accommodate the class as much as possible. This will make them learn more effectively as well as help them keep motivated.

Just my $0.02; YMMV, to each their own and always consider alternative (opposing) views!

I'd start with anyenlarger available, use VC paper and under-the-lens filters and, of course,f/stop pinting as it is the most logical approach.

 

[Brendan Quirk]

I'd go by target audience and intention.

If its the artistic people and you like to show them another tool for expressing themselfes, I'd forego the f-stop printing, zone system and all that technical stuff. They can learn that later if they like. Let them explore by trial an error. Starting with simple photograms, using a metronome to time exposures (or, ey, count in the head). Also i'd keep the film processing section as short and simple as possible (nothing more boring than film developing imho). One developer, one time, get it over with quickly and fix mistakes in the interpretation of the negative during printing. Paramount as said before. Take it easy. Phones off, take the time, slow down.

If you have the technical crowd, who want to get the most out of the materials, waste the least paper, and create a print with all zones in at and what not, then go crazy with fstop, split-printing, metering, densitometers, test-stip methodologies, computer controlled LED lights, silver recovery, maximum use of fixer, two bath methods, testing of thio residual, etc., and what have you. It might help to start with a couple of theory lessons before actually going into the darkroom.

Neither is better or worse than the other, just depends on the MO of the people you have there.

Best
~andi

This is really good. I am actually a chemist, but I prefer the artistic approach. I want to do art now, not chemistry!

The artistic approach can also benefit in the quicker achievement of a decent body of work. Once a process has been internalized that can lead to a good print, experimentation can lead to further improvements, while not getting in the way of being able to produce work.

A similar dichotomy can exist in music: some learn only scales, while others only memorize songs. Once an ability to play competently is internalized, however, expanding the repertoire is easier. I have seen people who seem to know all the expert guitar riffs, but can not play a song through to the end!

 

[DREW WILEY]

The local Community College and even High School darkroom classes use more affordable quick-developing RC
paper, variable-contrast of course, since graded papers are now nearly extinct. They typically go right from shooting and film development to actual enlargement. I don't see the point is going through an intermediate stage of contact proofing, though there is nothing wrong with that option. It seems that getting at least some kind of rewarding result quickly, with one's own negatives, is a key incentive.

It's not like trying to teach beginners the Zone system or traditional trade journalistic practice. And the basics can indeed be demonstrated in just one or two sessions. Teaching them not to get things cross-contaminated, or messing up gear etc, well, that might require more patience. Shared darkroom space is always problematic.

Teaching film development per se seems to be the harder part. To get fun off the ground fast, the roll film development step could simply be consigned to local lab with automated equipment (a popular option around here), and then hands-on taught later. It's important to start out with a widely-available relatively forgiving film like FP4.

 

[Truzi]

Teaching film development per se seems to be the harder part. To get fun off the ground fast, the roll film development step could simply be consigned to local lab with automated equipment (a popular option around here), and then hands-on taught later. It's important to start out with a widely-available relatively forgiving film like FP4.

That's similar to what a photojournalism class I took in my undergrad did. We only had to develop a roll once. After that the prof had us shoot c-41 B&W film and take it to any 1-hour photo place. We got to spend most of our time trying to learn how to print, emphasizing contrast filters, and dodging & burning.