Need help: Equipment for Darkroom

[AgX]

Yes....ventilation. *sigh* I'm not sure how to to deal with that.

I'm not familiar with a Durst. I was just looking at their website - is it either color or black and white? (I really have no idea.)

There are various threads on ventilation, including about where best to start exhaust.
German recommodation for a photo lab was 8-fold room-volume exchange per hour.

Durst do not have a web-site on their enlargers as they cancelled manufacture of enlargers in 2006 after 70 years. Their models meanwhile form the standards others are compared too. They designed models for each and every budget.
What you found was seemingly the web-site of a US dealer in refurbished top-range Durst enlargers.

 

[glbeas]

One of th enlargers was a chromega, I’ve had one before and it was an excellent enlarger if you want a diffusion type with built in filtration.

 

[Bill Burk]

I saw this one as well, but I couldn’t tell what brand it is. Is it worth $200?

That is at least two different Good enlargers. You will be wise to get the lot. Then reach out for help hooking it up and after you get the darkroom up and running... Then look towards giving away what you don’t need.

 

[John Koehrer]

IMO $200. is way to much for the package. First and foremost, the head on the 760 is misaligned. It may be incorrectly installed but will you know that?
The 760 is a basic 6X7 with a color head, A bit taller than the E34 and 6X7 rather than 6X6. Same thing in my mind having it just means it collects dust at your house
rather than his. The print dryer won't help with RC papers, add it to the pile with the E34. Film dryer may help but a clothing bag or hanging the negatives in the
shower is just as good, run the water a bit to increase the humidity just a bit to keep any dust in the room down. The Gralab is better as a processing timer
(minutes,not automatic reset) so there's another cost to add**.

**I've got an enlarging timer you can have for postage if you like, start a conversation, Click on my name and you'll get to another menu for that.

 

[M Carter]

Regarding ventilation - I only added it when I started doing lith prints with heated developer (which has formaldehyde in it, nasty stuff we're finding out). If you want to add a vent to a basement darkroom, it's not really rocket science, esp. if the ceiling is unfinished. You'll see joists that run across the ceiling every 16" or so apart, like 2" x 10" boards laid on edge. Those terminate at the exterior wall. Sometimes there's framing they butt up against, sometimes you'll see the exterior sheathing or brick. Basically, you have to cut a 3" hole in that space, to the outdoors. Even if it's brick, it's not that hard if you have an impact drill - you just make a dotted-line of holes and bust out the middle with a large hammer. Then you get a dryer vent kit (includes the hood that goes outdoors and a length of flexible tube). Buy a bathroom exhaust fan ("fart fan" in builder terms) and hook it all up; the fan itself needs to be wired safely to a switch. Any handyman should be able to tell you their cost to install a dryer vent. DON'T tie into the existing dryer vent - they're full of dust and lint, and you don't want your clothes smelling like fix.

If the ceiling is unfinished, it may cause a hell of dust issues. I'd get some 1/8 plywood, paint one side, and screw it to the joists over your work area. Cheap and non-permanent.

For darkening fabric, check eBay for "blackout curtains", often used ones show up. They have a layer of light-proof material in them; you can buy blackout fabric at the fabric store as well.

For a paper safe - if you have or install a cupboard with a kitchen drawer, you can pull the drawer, paint it black inside, and install a hinged lid at the top - a paper drawer is way more convenient than a paper safe, doesn't take up counter space, cheap and versatile. Think the mechanics of it through, not very difficult.

 

[mgb74]

That Beseler 67 Dichro - not bad IF it had the dual column (as some versions had) but not with that wimpy single column. The Omega B-600 - you'll outgrow it quickly. Take it if it's given too you, but don't spend much money at all on it. I'd avoid Dursts unless they have everything you need; accessories hard to find on this side of the Atlantic.

If you haven't already, research a bit on using Dichro heads vs. filters for variable contrast. Both will work, but Dichro heads easier. OTOH, they add complexity.

One of my medium format favorites are a Beseler 23 CII or C III. A bit like the proverbial VW of enlargers. Not fancy but they work and accessories easy to find. I'm using one with a dichro head until I fix my overly fancy Omega D5500. I would not pay more than $90 for the condenser head version or $150 for one with the most recent dichro head (looks like this). More if it comes with good lenses and/or multiple neg carriers.

One quirk with the Beseler 67 and some more recent Omegas is the you might see the same head with different size columns. Two (columns) is generally better than one and thick/substantial better than thin/wimpy. The classic Omegas are a bit of an exception to the 2 vs 1 column, but they're substantial, 1 column designs.

If you're looking in Atlanta, might be best to take your time and wait for something good. It's always good to download and read the manual first so you can spot if something is missing. A short bit of time with a mouse found this: https://www.facebook.com/groups/AtlantaFilmPhotographers/ Might be a good place to start your search.

If buying a dichro enlarger, test to make sure all 3 filters are working properly. You can hold a sheet of white paper under the lens to check.

As to ventilation, I have a small darkroom and, with standard chemicals, don't bother with ventilation. Maybe if I was in there for hours at a time without opening the door I would.

 

[MattKing]

There are also single large column Beseler 67 series enlargers - like mine (pictured in my temporary darkroom, before I acquired my Omega D6):

 

[tedr1]

Regarding enlargers, the most important accessories are negative carriers and lenses. Most modern lenses have a standard 39mm thread for attachment to the enlarger and work with the majority of modern enlargers. Cheap and cheerful lenses are 3 element and are probably best avoided. Better are four element units which will cost more. Six element units are keepers and cost the most. You will need 50mm lens for 35mm work, and 75 or 80mm for 6x6. 6x7 needs 90 and 6x9 105mm. Some good modern brands are Rodenstock, Nikon and Schneider, these all change hands on ebay.com.

Negative carriers are usually unique to the enlarger type and not interchangeable. If the enlarger does not include carriers for the formats you are going to use you may want to check ebay for missing ones before committing to the purchase of the enlarger.

These days the majority of black and white papers are variable contrast (in Ilfords's terminology multi-grade) and the enlarger MUST be able to work with multigrade filtration for adjustment of contrast. There are several ways this is done. Contrast adjustment filters can be purchased (Ilford Multigrade) and mounted below the lens between the lens and the paper. Filters may be placed in a sliding filter drawer above the negative, if there is one. Filtration may be done by use of a color enlarger lamphouse and manipulation of the three color filters to achieve the equivalent of the Ilford multigrade filtration. There is a fourth method, the lamphouse is dedicated to multigrade filtration and has it built in and adjustment is by a single control. In my opinion the most user friendly method for dedicated BW enlarging is the last one, and the least is the color lamphouse.

If you have heat running water and drainage in your darkroom you are flying I wouldn't worry about ventilation at first, when the prints are in the wash you can open the door.

 

[darkroommike]

• Your plywood table will be fine, come up with a way to water proof the top, nothing fancy, a couple coats of paint will work or a bit of sheet vinyl, I even did one with peel and stick vinyl tile when I was young and broke. And I would put down newspaper to absorb spills. I've also seen them rigged with low sidewalls and arranged to drain into the laundry utility sink.
• I have and have used Durst enlargers, bought my first one new in 1976. The only problem someone new will have is finding the "fiddly bits" lensboards, carrier inserts, etc. If you buy anything but an Omega or Beseler make sure it has the carriers and lensboards needed for the formats you currently do. Especially if you shoot 645, those tend to be pricey if bought standalone. Lamps are not yet and issue for most enlargers but some of the 4x5 and larger Dursts use an odd lamp with a large diameter as do the old Elwoods. Most LED retrofits are a solution looking for a problem (so far).
• 4x5 enlargers are very sturdy, and very heavy. If you have a place in the laundry are that you can permanently "home" your enlarger, that will be great, if you have to put up and take down a 4x5 enlarger after every session I feel your pain, but it's a good abs workout.
• Ventilation? I wouldn't worry in a 7x5 space, I take short breaks between prints, to evaluate my work, you can do that with the door open. You might even be able to illuminate the rest of the basement outside the darkroom with "safelights" so that you can leave the door open except when loading film!
• I have also seen air exchangers mounted on inside walls, even doors, so that the air is swapped with the rest of the basement. Not ideal, but doable. My plan is to make an ABS exhaust hood over the sink and vent it though the boarded up window over my sink (ABS is black so no light piping issues).

 

[John51]

Many of us know from experience that good enlargers are adept at hiding from us. Until we have spent twice as much or more on an inferior first enlarger that is. Then they parade in front of us displaying just what a bargain they are. How can we resist?

The best first enlarger imo is whatever works and turns up at your doorstep for the least expense.

Once upon a time, there was no multigrade paper and many people made fine prints. That can still be done. Experiment with filters once you feel competent with monograde (no filter) printing. If you start with a colour enlarger, getting good at monograde is still worth the effort imo. You can always print those negs again.

Ventilation aside, the best way to minimise exposure to chems is to be in the darkroom for as little time as possible. Creative decisions should, imo, be made in the living room while sat on the sofa examining your work prints. If, before starting a session, you already know what exposure, filtration and dodging/burning each neg is going to get, then it's a case of working to your notes and banging them out on the quick. ime, trying to make a better print during the same session is folly. We don't even know what the print really looks like until the next day so what is the point of making a creative decision with incorrect information?

 

[Fujicaman1957]

Photo Chemist, for the cover/tray over the sink, make or have someone make one out of plywood and then paint it with Rustolem truck bed liner paint. I made a tray like you're wanting years ago as a prototype for the sink I now have in my darkroom. The paint is like $35-39 a gallon and if you seal the seams inside the sink and then use about 3-4 coats of the paint, it's not going to leak,

For an idea and pictures of what I'm taking about go to Large Format Photography and look in: Darkroom Equipment in the thread "Let's see your darkroom". I post under MrFujicaman and my posts start on page 76.

 

[TmRn]

Wow . . . lots of advice, most of it good.
Not sure if this was mentioned, but your enlarger needs to be on a rock-solid base. If walking around in your darkroom creates even the most minor of vibrations it will degrade your print sharpness.
I saw several references to paper safes. I can't imaging not using one. Opening the box, pulling out the bagged paper, unfolding the bag, extracting a sheet, refolding the bag, reinserting it in the box, and then closing the box is a huge hassle. If you use several types and/or sizes of paper just label the safes by writing on a piece of tape attached to the outside.
You will also have to choose between fiber and RC paper. Fiber will take a lot more water for washing and is more difficult to keep flat for presentation, but many feel the "look" of fiber is deeper and richer. I would learn with RC and then decide where to go after that.
Welcome to the club. Make sure someone shows you the secret handshake.

 

[Andrew O'Neill]

You say that you might use 4x5 in the future so I would recommend going with a 4x5 enlarger. When I got into photography (living in Japan at the time), the camera store guy suggested the same to me and helped me secure a Fujimoto 4x5 (aka Lucky). I'm glad I listened to him because a couple years of medium format, the large format bug was biting! I still have that enlarger...since '92.