Setting up my first darkroom: Beginner ?s

Hi all. We just moved into a place that has an unfinished basement. I am hoping to set up a darkroom,but having never done this before, I have a few questions that I was hoping you all might help me with:

1) The basement is fairly large. I was initially thinking of putting up some temporary dividing walls or trying to do something like hanging blackout drapes from the ceiling with velcro, but it strikes me that the only light sources in the basement that I don't control are two very small windows that can easily be blacked out and the light from the stairs to the main room (which, again, can easily be blacked out). Is there a reason I can't just set up things in the corner as opposed to having some cordoned off space? Dumb question, but just have never seen a darkroom like the kind I am proposing.

2) I am buying planning on buying an enlarger new (want the warranty, don't want to deal with stuff that might or might not have been treated well, etc.). I am located in the US and only really shoot medium format and have no real plans to shoot either 35mm or LF. Given that, I was looking at the following - https://www.bhphotovideo.com/c/product/3979-REG/Beseler_8004_02_23CIII_XL_Condenser_Enlarger.html, but is there any reason I should consider https://www.bhphotovideo.com/c/prod...019_02_23CIII_XL_Variable_Contrast_Black.html - is the only difference whether or not I have to use something like the Ilford filters below the lens? Should I be considering something else altogether?

3) How important is the role of the enlarging lens? I understand that "you get what you pay for", but would it be reasonable, for instance, to start with something like this https://www.bhphotovideo.com/c/product/4565-REG/Beseler_75mm_Beslar_Lens_Kit.html/pageID/accessory or should I instead be looking at Rodenstock/Schneider off the bat? Assuming the same negative, is the difference in enlarging lens that noticeable?

Thanks all for the help in advance.

-Matt

The most important thing about a darkroom is you need to make it dark. Your idea for the whole room should work OK for that. A few other things to consider... One is dust, your enemy. You will want your darkroom to be as dust-free as you can get it. Basements can be dusty places, so you might want to give some thought to that. Damp wiping your darkroom (entire room, or draped off area) before a printing session will help a lot. Finished walls and ceiling also help a lot. Keep the enlarger covered when not in use will also help a lot. Consider ventilation also. BW chemistry is mostly benign, but a darkroom typically has liquids in open trays, and ventilation just to lower the humidity during a printing session is nice.

I suggest reading Ansel Adams' books "The Negative" and "The Print" your local library may well have them. There is a chapter on darkroom design in one of them. There's good info there. You'll probably get other resources mentioned in other replies to your question.

The Bessler is a fine enlarger. The variable contrast head is a luxury. Nice to have, but you can work without it. I have a standard colorhead on my (4x5) enlarger. I have to set two dials for contrast changes. Used enlargers are pretty easy to find, but I also bought mine new (20 years ago). Some people like diffusion light sources rather than the condensor head. That VC head is a diffusion light source.

How big do you plan to enlarge from your MF negatives? The nicer lenses make more of a differences at big enlargements. That said, if you're using nice glass on your camera, you might want nice glass on your enlarger. Weakest link idea. Good enlarging lenses are plentiful in the used market. I would probably go to eBay, but that Besslar is OK.

I'm sure others will add their own opinions here. Read up, and have fun!

As long as it's dark you don't need any walls. But they might be helpful for dust control or in case someone enters the basement and flips on the lights. Black wall material is not ideal in my experience if the room is well sealed. When you have the lights on it's nice to have an even illumination. The exception is around the enlarger to keep stray light from reflecting on the paper.

Not having walls would be great in my opinion. Put the sink against the one wall for ease of plumbing and to have shelves above the sink. Island work tables and enlarger stands would give you a lot of freedom.

There are good used enlargers out there. I mention this because you are talking about cutting corners on the lens. Ideally I'd put most of my money into the glass and get a quality used enlarger if the budget was tight. The lens certainly makes a difference in the print quality. Cheaper lenses are not as sharp in the corners wide open, so you must stop down more. This hurst center sharpness through diffraction and makes for long exposure times with large prints.

I'd consider used 4x5 enlargers. They work perfectly well with medium format, and generally have more room for larger prints if you're into those. They might also be built to a higher standard, though I haven't used many medium format enlargers.

Do some research between diffusion and condenser enlargers if you haven't. I find I like both types, but diffusion seems a bit more forgiving (dust, scratches minimized at the expense of a bit of contrast). With condenser enlargers there's a bit more difference between brands and models as well. That became apparent when I moved from Omega to Durst. I have no idea how good the Beseler condensers are. The VC light source on the beseler says it can work with both condenser or diffusion. I'd go for a VC light over separate filters, but separate filters work just fine. You can get larger ones that go between the light and the negative instead of under the lens.

Any quality 6 element enlarging lens should suffice. With different enlarging lenses some come with user friendliness, like the Schneider Componon-s range of enlarging lenses. For medium format my suggestion would be to go larger than what you are thinking, 100mm instead of 75mm or 80mm. By going to this size you can easily enlarge 6x6, 6x7 and 6x9 negatives. I have used many enlarging lenses on many enlargers, most will give you great enlargements with care, some will give you exceptional enlargements with care.

https://www.schneideroptics.com/ecommerce/CatalogSubCategoryDisplay.aspx?CID=176

My personal choice of medium format enlarging lens is the 100mm Componon-s. The lever on the side coupled with the illuminated f/stop window, coupled with the stepless aperture possibility, coupled with the ability to have a pre-set aperture, which can be click stopped or seamless, that can be opened wide by using the lever for focusing and composing your print, then just pulled back to the working correct aperture, makes life easy as anything.

With regard to enlargers, a 4x5 enlarger would be my choice, but if you wish to have a 6x6 or 6x7 enlarger, that is fine too. Almost all 4x5 enlargers will be heavier, bigger and more solidly built than most medium format enlargers. Once anyone has used a 4x5 enlarger, they usually wish to embrace one for personal use.

Using individual filters under or in the enlarger is fine, but having the possibility to dial in a quarter, or eighth of a grade difference, can be an advantage. I myself used changeable filters for many years, but would never willingly go back to them, I have found a diffused light source coupled with the variable contrast of inbuilt filtration the easiest and best. I personally use a 4x5 enlarger with a colour head, works very well.

Mick.

Unless you're screamin' rich, I'd at least look around for a used enlarger. There are lots of 23C's out there for a hundred bucks, in fine shape. You could get ten of them for the cost of a new one.

That said, the beseler B&W contrast head seems really convenient and they're rarely seen used. Finding a used enlarger and just buy the head might be a good path.

And... don't drop $400 on a Beseler lens. Keep an eye on eBay and get an 80mm EL Nikkor 5.6 - fantastic lens, will cover 6x7, and I got mine for about thirty bucks. Any 6 element lens from Schneider, Nikon or Rodenstock would be great and these days, and very inexpensive. Scheider still makes the 135 componon S - for $1200 new. I got a mint one for $45.

If you print large, like 16x20, look into a Besalign lens board. Really makes it easy to fine tune alignment. And since you're working with a rolls royce budget, get a Versalign enlarger alignment device. $200, absolutely the shizz in getting sharp prints. The best lens in the world will suck if your enlarger is out of whack. I'm also a believer in glass carriers, don't know if one was made for the 23C though. I DIY'd one when I had a Beseler 67 though.

For an unfinished basement darkroom, I think joist ceilings are a bigger worry than blacking out a couple tiny windows. I'd get some drywall or even 1/8 plywood and cover a good portion of ceiling over your enlarger area, due to the way dust seems to just pour from that type of ceiling. Two sheets would give you an 8' square area - a helper and some screws and you're good. You could just hire a handyman to do that, looks like you have the cash! Dust suuuuuckkkkkksssss....

My favorite darkroom book of all time is Tim Rudman's "Master Printing Course", widely available used. From rank beginner to very advanced techniques, all explained very clearly. A real gold mine for printers.

I like the fuji enlarging lenses..buy a good 100mm lens; they are crack sharp!!
if you are buying new I would look into the Kienzle enlargers made in Germany...if you buy once this is what I would buy
otherwise there are many good used 23C type II enlargers on the market...save the $$ and buy paper and chemicals
good luck on your new adventure!!

There have been a number remarks and suggestions on darkroom design on this site that will be helpful if you search back entries. I would also recommend a 4x5. I have changed the light source on my Omega D2 a couple of times so find an enlarger that can be modified. An exhaust fan should be on your list.

http://www.jeffreyglasser.com/

Also check out enlargers by LPL (http://store.khbphotografix.com/) and Kaiser (http://www.freestylephoto.biz/category/18-Darkroom/Enlargers-and-Accessories?mfg[]=61&mfg[]=223)

Many b&w enlargers have a filter tray above the negative for variable contrast filters, this is the way the Beseler 23 condenser works, it is not necessary to add the filter below the lens. I think some of the Kaisers have the same facility. I prefer the filter above the negative because there is less risk of a small defect in the filter being reproduced in the print. The other variable contrast filter system is often called a dichroic system where there are contrast filters built into the lamp house that are adjusting by turning a dial. Some prefer this system for its convenience however it usually adds to the cost of the enlarger. One of the Kaiser models uses this system.

Regarding lenses, many start off with inexpensive four-element lenses, however eventually the superior performance of six-element lenses is usually found preferable.

1) Color: You want a WHITE darkroom, with FLAT BLACK around the enlarger. Having been in both black and white/light painted darkrooms, the white/light painted darkrooms were the most pleasant to work in.
Construction: I would make interior walls to block off the darkroom. YOU want absolute control over entry and lights. Also basements tend to be dusty places, unless you can do a complete cleaning of the basement and paint/seal the concrete. Where is the furnace and waterheater?
Dust: As with others, I STRONGLY suggest putting plywood or drywall on the ceiling joists (floor joist of the floor above) to keep the floor dust from falling into the darkroom. This is especially a problem on older homes.

2) The problem with warranty on an enlarger is, you have to SHIP it back to the manufacturer. And shipping an enlarger will be expensive.
In general, unlike a TV or computer, there isn't much to go wrong with an enlarger.
If the enlarger is used, the kinks have been figured out. So I would buy used from a person that used it, not someone scrounging up darkroom gear to resell.
Decades ago I bought a Durst M600. I recently bought several used enlargers via Craigs List; first 2 medium format 6x7 then 2 large format 4x5, for the darkroom that I am planning to build. And now I have 2 too many enlargers :-( I have not tested them, or I would offer to sell you one of them.
Given a choice, and money, I would get a variable contrast enlarger. It would be much easier to dial in the contrast than dealing with filters.

3) I agree with everyone else, get a GOOD used enlarging lens. They are absurdly inexpensive, compared to new prices. Do it once, and forget about it.
These are the big 3: Nikon El Nikkor, Schneider Componon-S, Rodenstock Rodagon.
There are other good lenses out there, but less common: Fuji, Minolta, Leica, etc.

If you have any extra $$ just send it to me, I need to renew my subscription,

The Beseler 23C is hard to beat.. I'd go with the condenser head and individual filters, they slide in above the condensers.
Also most think that the B&W dichro heads won't get to a grade 5 paper but the slip ins do.
I also agree that the lens is far more important than the machine. If you go to Beseler the later ones are black,
earliest ones gray and middle age is gray.
There've been several complete darkrooms in the Chicago area for less than $200. with 23C's
You need to check that bellows are intact and everything moves smoothly. Alignment is important
but unless it's been knocked around shouldn't be a problem. Besides you could buy several just to test.

There are a number of members here in your area that might help you out.

Buying a new enlarger in this day and age doesn't make any sense. I'd look at an LPL enlarger with a VCCE head. You can find it used or buy it refurbished from KHB Photografix in Canada.

I am 50 miles from you.
I have the first 23C...the blue one, in quite good shape. It has the baseboard and 35mm Neg Holder. It has whatever Nikor came with it.....50.....not f/2.0...whatever the next fastest lens was.
Anyway.....if you are interested, drive up and get it. After you have it all set and know it is working, send me 50 bux.
good luck
Oh.....you shoot MF. What size.? I will have to see what i have as far as Neg Cars go.

Cmore,

That is a great and geneorous offer. Good on you.

claudio

CCLA said:

Cmore,

That is a great and geneorous offer. Good on you.

claudio

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Yeah, Well.....Maybe.
I kind of blew it by not paying attention (i am real new to this stuff) to his Shooting Format. I am still not sure if i have the right Neg Holder for him, and he might need a 90mm lens.?
I have not yet printed for my Mamiya 6x7, so i really cannot advise him.

What is your budget? The new 23c would be swell. But you can buy nice used cheap.
I have Beseler 45 enlargers, very nice allows expansion. Still 99 % of what I do is on 120 6x6 upto 6x9.
Consider an LED light source from Heiland.
Buy a 100 dollar 23c and spend 1500 bucks on a head that will do miraculous things.
Buy a good used 6 element El Nikkor lens. Or Rodagon, or Fuji.
Do some research, last thing to worry about is the room.
FOR GOOD

For GOODNESS SAKE LOOK AT THE HEILAND HEAD IT'S THE GREATEST THING TO EVER HAPPEN TO BLACK AND WHITE PRINTING AND CAN BE USED FOR COLOR TOO.

I would be willing to bet that Glass Key Photo would have good advice for you: Dead Link Removed

Here is a link to a Kodak reference on darkroom design: http://125px.com/docs/techpubs/kodak/ak3.pdf

CMoore's offer is a good place to start. The accessories for it are widely available. Here is another, slightly newer version on Sacramento craigslist: https://sacramento.craigslist.org/pho/6126117916.html . Both, if undamaged, could give you years of high quality service. These models were favoured for the rigours of school darkrooms. They are even still being made.
As for lenses, become a subscriber here, and post a "Wanted" ad. There are lots of really high quality used lenses around.

The enlarging lens makes a big difference. I have seen the experts (like Bob Carnie) say quality lenses like APO Rodagon-N are the best investment you can make.

I once had a visitor come by to try my darkroom and make a print from one of his challenging MF negatives. My only MF enlarger lens at the time was a four-blade iris Componar 75mm f/4.5 and he came away from the experience disappointed in the lack of sharpness on his print of the blades of grass under a tree.

If it weren't for his experience, I would have been perfectly happy with that lens. But now I think the right thing to do is start with the best if you can... Something tells me buying new is just a waste of money though. There are lots of APO Rodagon-N on eBay for a few hundred dollars.

I would never discourage anyone from buying a very top of the line lens like an APO lens if they have determined they have a need for one.
But a much more reasonably priced near top of the line lens like a 6 element Rodagon, Componon S or Nikkor will give really high quality results with moderate (16x20 and smaller) enlargements.
I'd start with one of those first.

Many years ago I remember seeing the F1 teams would turn up at a new track and re-paint the entire inside of their garage space putting a lot of effort to get the floor perfect. This stuck in my mind, about 20 years ago a mate wanted to paint his car at home so again he re-painted the floor and walls, sealed up the doors etc. He got really nice results on that car and it was a difficult metallic finish as well. Dust or dirt is the enemy in those environments just as it is for the darkroom so I would say is top tip, unless the basement is already perfectly clean and tidy clear/clean it up and re-paint any surface that can take it.

MattKing said:

I would never discourage anyone from buying a very top of the line lens like an APO lens if they have determined they have a need for one.
But a much more reasonably priced near top of the line lens like a 6 element Rodagon, Componon S or Nikkor will give really high quality results with moderate (16x20 and smaller) enlargements.
I'd start with one of those first.

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+1 especially for black and white, follow Matts suggestion. At least until like me you end up with at least 40 different lenses

NJH said:

Many years ago I remember seeing the F1 teams would turn up at a new track and re-paint the entire inside of their garage space putting a lot of effort to get the floor perfect. This stuck in my mind, about 20 years ago a mate wanted to paint his car at home so again he re-painted the floor and walls, sealed up the doors etc. He got really nice results on that car and it was a difficult metallic finish as well. Dust or dirt is the enemy in those environments just as it is for the darkroom so I would say is top tip, unless the basement is already perfectly clean and tidy clear/clean it up and re-paint any surface that can take it.

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This is an excellent suggestion. Take everything out of the room and clean. Maybe a paint / sealer could be applied. ??

Taking some time to read up on lab grade 'clean room' methodologies is probably worth the time if you're getting ready to put a dedicated darkroom in place. You don't need to go crazy with putting in an ISO 1 class clean room or anything remotely approaching that, but looking at some of the designs for air handling and filtration can go a long way toward making long term dust management easier.

Something like adding an air/light lock between the darkroom and the rest of the basement is not a massively huge step up if you're going through the effort of framing in a room. Also maybe consider installing a central vacuum system while you're at it to make cleaning and keeping the dust in the basement down to a minimum.

(And if you're installing a central vac system, then it isn't that much more to add one into the airlock to brush down before going in for longer sessions. - Less dust on you means less dust that can transfer. I know a few people who had planned to use those little handheld dustbuster things, but those plans lasted about as long as the filter took to clog up.)

M Carter said:

My favorite darkroom book of all time is Tim Rudman's "Master Printing Course", widely available used. From rank beginner to very advanced techniques, all explained very clearly. A real gold mine for printers.

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I found a copy in Oxfam bookshop. I agree, it's really good.

Another book I've found which i like is
Eddie Ephraums' "Creative Elements: Landscape Photography - Darkroom Techniques". It's available on amazon for peanuts.

What I like about it is that the author takes a selection of photos and then describes the methods and techniques used to achieve the final print, each step of which can easily be applied to your own prints individually or as a sequence of steps to solve specific issues as the book shows the effects step by step.