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

[blacksquare]

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.

 

[koraks]

Why start with a graded papers when it is rarely used today?

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.

And f-stop printing seems to me to be a much more logical choice for photographer.

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!

 

[BobUK]

After leaving school then going on to technical colleges, I soon realised that some lecturers revelled in showing the class their extensive knowledge of a subject. Information way beyond the curriculum, and never to appear in an examination.
They were out and out show offs that just muddied the waters.

The rarer breed of lecturers were enthusiastic, knowledgeable people that could lay down the foundations of a subject, enough to get through the exam, and leave the higher learning for the next term.

Skip f stop timing, split grade etc.. Just stick with the basics and do not confuse people with your extensive grasp of the subject.

You would never expect to have a student attend a couple of night school classes in pottery throwing, then come away after the second lesson with a perfect Wedgewood vase.

Nice to see some one is spreading the word.

Keep it simple and enjoyable for them. And good luck with the project.

 

[ic-racer]

Photograms first then Contact Prints, then Enlargements using a Kodak projection print scale.

 

[blacksquare]

Koraks....thank you so much for the extensive post. I will definitely take your advice into account.

Keep it simple and enjoyable for them. And good luck with the project.

I will definitely try. And thanks!

This will be a course for people who are already shooting on film but they had never been in a darkroom.
But I've already received some inquiries and even links to youtube videos or instagram posts if this and that will be done.....historical techniques, toning, extensive burning&dodging.....without ever holding silver paper in hand.

My only experience teaching someone was with a friend of mine. About 3 years ago, he arranged a small darkroom at home and was on some weekend course. Then when he worked himself, it was endless rows of test strips here and there, swapping filters, A4 paper marked with times and notes...it was just guesswork and trial and error.

At that time, I showed him procedure which I used myself. Determine the base exposure with a test strip at lower grade (at place with textured highlights), then a expose larger piece of paper with this time, cover half of it and do the test strips with higher grade on the other half.

I'm not saying it's the only correct method, but he was suddenly able to get to the decent print much faster and understood/saw how he could work with contrast.

 

[blacksquare]

Photograms first then Contact Prints, then Enlargements using a Kodak projection print scale.

I like contacts prints, I will definitely include them. And I bought Kodak projection print scale few months ago, there are not many of them in Europe. Excellent tool.

 

[Ian Grant]

You need to start with Film development first because good negatives are the secret to excellent prints.

Ian

 

[BobUK]

You need to start with Film development first because good negatives are the secret to excellent prints.

Ian

A logical starting point.

Though I think photograms and contact prints as mentioned by ic-racer give a quick, almost instant result compared to the comparative precision involved with time and temperature plus technique involved in film development.

Contact prints using old family box camera negatives was my introduction.
Film developing came much later. Working on my own, film development was quite a nervy process for the first films.

Photograms and contact prints from medium format negatives would be my choice, with all the chemicals pre mixed and in the trays ready to go.

 

[Ian Grant]

I've taught photography. Yes you could start with photograms to explain exposure, development, fixing, washing etc. The very basic principles, then move on to film exposure & development in a seond session.

Ian

 

[Carnie Bob]

I am into my second year now of teaching an apprentice , She is 34 with no photo background but comes from Framing World and 5 years of Art Studies in Painting.

She is by far the best student in many ways I have taught and in some ways she lacks confidence due to her lack of understanding of the history of photography.

We started her out with assisting me mixing chem's, then she was assigned that job, next watched contact sheets and film loading, then doing the film on Jobo , then contacting under supervision.
We then went to digital contact printing of negs onto silver using my methods of split printing, Today she sets up the lab for printing, gets the first test ready and then we print or she prints and
I work in another room and only come in to look at the prints in the wash.
She is now learning about tonality , density , contrast and the many methods we use to get nice prints, this will be another two years of training to be able to SEE or JUDGE a print, to the point I would feel comfortable letting her free.
Please remember she is working at a professional printing lab which specializes in silver prints so we are not letting her go it alone,. that will take time and she herself will establish her own set of clients within my space and they will be the people she works completely on without my EYES.

We are not teaching her enlarging printing yet , but soon , we have to do over 400 silver prints for a Magnum Photographer over the next 6 months, after watching me work the enlarger , she will work on her own negatives to see if she can mimic the results.

Side note, she has take on Tri Colour Gum over palladium and is good to go by herself , as he is a painter with an exceptional colour eye.

 

[MTGseattle]

We have a local place that splits things up nicely which allows them to have a "focused" group for its classes.

The 2 most basic options are;

B&W film developing workshop
B&W printing workshop

Both are 1 day hands on.

They have slightly longer offerings in each category which are called "crash courses."

Then, actual credit-based classes if one so chooses.

There are always going to be people who want/ask for more. Be explicit in what you intend to teach and offer links/notes to more advanced stuff if students desire.

I would also say to stay away from f-stop printing. To me, f-stop printing is an advanced refinement in methods when one has the basics nailed down. One could certainly start a darkroom journey with f-stop printing, but in a beginner educational setting, I'm not sure that it is appropriate.

 

[Nicholas Lindan]

I say start with f-stop printing. Of course, I do have a dog in this fight.

Anyone who has tried f-stop printing with proper equipment has sworn by it. I have never had a timer returned. I'm pretty sure RH Designs has never had a return either.

Exposing paper in seconds makes no sense at all. Excepting that clocks work in seconds (and the microprocessor being invented a 100 years too late) no one would have ever suggested this method for controlling exposure.

A clockwork timer can be equipped with a dial marked in proper increments - Gra-Lab Insert Lots of tables of stops<-> seconds exist Beyond Monochrome Article/Fractional Table DA Decimal Stops Table The problem with the table and dial approach is that things can get complicated.

With an f-Stop timer things get very, very simple very, very quickly and you stop thinking about it. Just as you don't think of milliseconds when you twiddle a shutter speed dial or millimeters when adjusting the f-stop ring on an lens: it all becomes second nature and obvious. Control of burning and dodging suddenly becomes precise - the timer does it all for you.

Don't let your students take one step on the path to mortal sin...

 

[MattKing]

The toughest thing to teach is also the most important thing to teach - how to recognize a "good" result.
So however you approach this, be sure to provide lots of examples of "good" results.
In addition, it really helps if you can provide examples that are "off", as well as explanations about why they are "off", as well as how to improve those results.
What you hope to instill is a sort of feedback loop. You want your student to be able to obtain a result, then change something, observe the result of the change, and then understand how to implement (or reverse) that change, in hopes of improving subsequent results.
I'm in agreement with Nicholas Lindan about f-stop printing, because I think it helps people develop the visual abilities that good printers have, along with the understanding of how the materials react to changes, but I do think that it helps if the instructor is also attuned to using it.
And the most important thing? Bring your curiosity, joy and enthusiasm for the darkroom, because if that is the only thing your student gets from you, you still will have succeeded.
I've helped a few different people to learn over the years, and one thing that is clear, is that you can't expect your student to respond to "lessons" in exactly the same way you do. But if you can figure out what and how they respond to things, then you can help them learn for themselves as well.

 

[pentaxuser]

We have a basic entrance level qualification called City and Guilds Level 1 which covers various subjects such as film exposure and , processing then goes onto darkroom printing

Look up City and Guilds Photography Level 1 in Photo Imaging (7512) Go to Unit 109 Darkroom Printing on page 45. That covers the basic content that you need to teach in order to get a beginner competent in darkroom printing

Good luck

pentaxuser

 

[blacksquare]

I say start with f-stop printing. Of course, I do have a dog in this fight.

Anyone who has tried f-stop printing with proper equipment has sworn by it. I have never had a timer returned. I'm pretty sure RH Designs has never had a return either.

Exposing paper in seconds makes no sense at all. Excepting that clocks work in seconds (and the microprocessor being invented a 100 years too late) no one would have ever suggested this method for controlling exposure.

A clockwork timer can be equipped with a dial marked in proper increments - Gra-Lab Insert Lots of tables of stops<-> seconds exist Beyond Monochrome Article/Fractional Table DA Decimal Stops Table The problem with the table and dial approach is that things can get complicated.

With an f-Stop timer things get very, very simple very, very quickly and you stop thinking about it. Just as you don't think of milliseconds when you twiddle a shutter speed dial or millimeters when adjusting the f-stop ring on an lens: it all becomes second nature and obvious. Control of burning and dodging suddenly becomes precise - the timer does it all for you.

Don't let your students take one step on the path to mortal sin...

Thanks for the "support" regarding f-stop printing. I have a very similar opinion. When I started, everyone around me was using exposure in seconds and so was I. But once I tried f-stop printig for the first time, I never went back.
And so I'm just thinking, why teach students something that I myself abandoned and it doesn't seem logical to me.

I am now setting up a space for courses, looking for enlargers and other equipment. Then I would definitely like to buy at least one f-stop timer and of course I have also looked at your products (even though I am from Europe), but at the moment it is not realistic, the courses will not be commercial and everything is mostly put together from donations.
But thanks for the tip on dial for Gra-lab timers.

 

[blacksquare]

Thanks everyone for the advice and tips, I'm honestly taking notes.

We have a basic entrance level qualification called City and Guilds Level 1 which covers various subjects such as film exposure and , processing then goes onto darkroom printing

Look up City and Guilds Photography Level 1 in Photo Imaging (7512) Go to Unit 109 Darkroom Printing on page 45. That covers the basic content that you need to teach in order to get a beginner competent in darkroom printing

Good luck

pentaxuser

I have downloaded the document and will read it, thank you!

 

[Paul Howell]

I taught photography at a local Community College, the district had picked out a text, it was part of photography series, so first question is do you have a basic text book in Czech that your student or students can read? If not do you have the time to develop a step by step guide for the students? Next is what does the student know about camera basics? In my case an introduction to photography was required prior to darkroom 101. I had the class shoot a roll of plus X, thats how long ago it was. Then after lecture we had lab. First how to load a Patterson and stainless steel reel. I had a very old Kodak tanks with the apron kept the film separated. Out of 20 students there was always one who could not get film onto either a plastic or stainless reels. Then the steps to development using D76 stock as the developer. After analyzing their rolls for correct exposure, and seeing that some were under, some were over I taught them to shoot a ringaround to find their personal ISO. Next how to print, the text and course syllabus required a contact sheet then prints. We used a standard timed test strip, following the text. Not sure why but how to mount prints was required. We also covered burning and dodging. We used VC RC paper, not my choice, but it did work well. The final was a project, replicating the class by using a film they had not yet used, most picked trix or tmax 400, some Panatomic X or an Ilford film then presenting a technically correct print.

 

[cliveh]

Having taught A-Level photography for over 25 years, I would suggest the following. Do not use graded papers, or teach f stop printing or split grade printing. Use multigrade paper and teach pinhole photography and photograms to start their appreciation of image making. Keep it simple.

 

[MTGseattle]

I think the OP needs to stay within the confines of the equipment that is available at the facility. The opening post to me infers that the opportunity to teach at an existing facility is available.

Starting a program from scratch is a whole different animal to me. While one could certainly start with f-stop printing, and split-grade filter technique that jump past the simple "here is what an enlarger does, and here is what filters will do.

For any Trumpet players here, was the first piece of music you learned "carnival of Venice?" or was it basic scales and fingerings?

For me, the magic was in seeing a print come up in the developer tray. Sure, photograms were a fun day at school, but that first mediocre print on rc paper had me hooked. You don't need all of the other "spices" in an intro/beginner/101 level course. The people who feel the magic will want that extra stuff

 

[Vaughn]

To echo cliveh...I feel the most important (and most difficult) thing to teach is why one photographs.

Good luck!

 

[Nicholas Lindan]

f-Stop printing isn't confusing, or hard. Just slap an f-stop dial on a Gra-Lab and you are good to go.

"Want to make the print a shade darker - just advance the timer pointer by 1/2 stop. That's it. Doesn't matter where the pointer started out."

Maybe an f-Stop printing 101 syllabus is needed.

 

[blee1996]

While I was in college, I really enjoyed the short B&W printing course. I came back with two simple learnings as a novice:

- Multi-grade RC paper (cheap and easy to wash), no idea what kind of enlarger it was
- Adjust Time (or f/stop) for the blacks, and Grade for the whites

There are millions of other learnings a master printer can teach, but for beginners less is more.

 

[BHuij]

I have taught beginners a few times. Mostly friends who wanted to try out B&W film photography and knew I had a darkroom.

I usually start by giving them a camera (either auto exposure or not depending on whether they have interest in learning how to meter and expose manually) and a roll of HP5+. We chat while I develop the roll with them and explain what's going on with each chemical. Then they have negatives to choose from.

When it's time to print, I usually just demo the process of putting in a negative, setting the print size/crop, focusing, making a test strip or two, and then doing a straight print. I do that with my own negative because I don't want them to feel like I'm "doing it for them" with their own. Then I had them the negative carrier and tell them to give it a shot. I like to be pretty hands-off and let them drive. I'm right there if they have questions or whatever.

Once they have a good straight print, I like to talk through what they do and don't like about it. Maybe it makes sense to introduce dodging and burning at this phase. Maybe they just need to adjust the contrast or try a different crop. Sometimes they want to go back and shoot another roll or re-try the composition of something.

I guess for me it's about just letting them do it and get the confidence that comes from going through the whole process yourself instead of just watching someone else. I don't shy away from f-stop printing. It's not that complicated; just a chart on the wall to tell you what times you should use to go up or down a shade. Exact same concept as seconds-based printing; the only difference is that someone else has already done the math so you're not doing so much guessing. Beginners need not understand the logarithmic math that goes into generating that chart.

 

[Nicholas Lindan]

... is why one photographs.

I don't remember having a choice in the matter. It was obvious from the first: that's what I'm going to do.

As a boy I would go into my Mother's closet where she kept her camera, take it down from the hook and fondle and play with it. (I understand other boys fondle and play with other things in their Mother's closet, but that wasn't me.) She had a Zeiss Nettar - a camera worth fondling. I still use it.

 

[choiliefan]

In my HS photography 101 we started with photograms and later taught to shoot and print for highlight detail as our beginning standard.
Hi-key visualization and printing came later.