the Darkroom
This page will review the steps to film developing and printing black and white negatives for those who are curious or interested in knowing about the analog process. As you scroll down the page, tips on exposure, contrast and enlarging black and white prints are also provided.
Steps in FILM DEVELOPING
1. developer (T-Max, 1:4 dilution) [agitation for 5 seconds every 30 seconds], 7 minutes at 68 degree.
2. stop bath or wash, 1 minute
3. Fixer, 5-7 minutes; agitation for 5 seconds every minute
4. wash, (H2O), 2 minutes
5. Perma Wash, 2 minutes; constant agitation
6. wash, (H2O), 5 minutes
7. Photo-Flo solution, 30 seconds
Total amount of fluid needed for film tanks:
2 reels: 4 oz. T-Max + 16 oz. water (to total 20oz.)
3 reels: 6 oz. T-Max + 24 oz. water (to total 30 oz.)
5 reels: 10 oz. T-Max + 40 oz. water (to total 50 oz.)
1. developer (T-Max, 1:4 dilution) [agitation for 5 seconds every 30 seconds], 7 minutes at 68 degree.
2. stop bath or wash, 1 minute
3. Fixer, 5-7 minutes; agitation for 5 seconds every minute
4. wash, (H2O), 2 minutes
5. Perma Wash, 2 minutes; constant agitation
6. wash, (H2O), 5 minutes
7. Photo-Flo solution, 30 seconds
Total amount of fluid needed for film tanks:
2 reels: 4 oz. T-Max + 16 oz. water (to total 20oz.)
3 reels: 6 oz. T-Max + 24 oz. water (to total 30 oz.)
5 reels: 10 oz. T-Max + 40 oz. water (to total 50 oz.)
Steps for Developing Black and White Analog Prints:
Steps in PRINT PROCESSING (for RC prints)
1. developer, 1-2 minutes
2. stop bath, 30 seconds
3. Fixer, 5 minutes
4. wash for 5 minutes
Dry prints on racks in drying room or place in a blotter book.
1. developer, 1-2 minutes
2. stop bath, 30 seconds
3. Fixer, 5 minutes
4. wash for 5 minutes
Dry prints on racks in drying room or place in a blotter book.
The Analog Printing Process Explained:
![Picture](/uploads/1/0/5/8/10587996/1949129.jpg)
When printing black and white negatives, our first concern will be to determine a proper exposure for each particular negative. Exposure refers to the amount of light that hits the photographic film or paper which determines how light or dark the print or negative will be.
In a negative to positive process, what is clear in the negative will be dark on the print; consequently, the dark areas of the negative will be light on the print. This is because the paper is exposed by light and thus, the more light that passes through the negative, the darker the print will become. When any photographic material is exposed to light, an exposure is achieved.
Example situations:
1. A test print that appears too dark can be corrected by:
a) adjusting the f-stop to a higher number, (e.g.: from f8 to f11), which will result in less light passing through the lens to expose the paper. This is referred to as closing down the lens.
b) cutting down on the amount of time the paper is being exposed, (e.g.: from 10 seconds to 5 seconds).
2. A test print that appears too light is corrected by:
a) adjusting the f-stop to a lower number, (e.g.: from f8 to f5.6), which will allow for more light to pass through the lens. This is referred to as opening up a stop.
b) adding exposure time to the print, (e.g.: from 6 seconds to 10 seconds).
Exposure on a print is affected by:
Prints have to also be evaluated for contrast.
Contrast refers to the visual relationship between the blacks, whites and grays in the print.
When using contrast or Multigrade papers, contrast is adjusted by using filters.
CONTRAST CONTROL WITH FILTERS:
Contrast filters can be used with the appropriate papers in order to alter and/or correct print contrast. Prints that have an overall gray look and need more definition between blacks an whites will require a filter #21/2 or higher. Many enlargers have built in contrast filters where you simply have to “dial in” the contrast, expose the paper and test the results.
FILTERS ABOVE #2 INCREASE THE CONTRAST OF PRINTS.
The higher the numerical designation of a filter, the higher the contrast.
Prints that are seemingly high in contrast will require a correction with a filter #1 1/2 or lower.
FILTERS BELOW #2 WILL REDUCE THE CONTRAST OF A PRINT.
What to look for in the print:
Expose your print so that good blacks with details are obtained; then look at the whites. Do the whites “read” as white, or are they too gray? Try to achieve good blacks, good whites, but neither so extreme that it results in the elimination of details that exist on the negative. Is there a good balance and scope of grays in your print?
In a negative to positive process, what is clear in the negative will be dark on the print; consequently, the dark areas of the negative will be light on the print. This is because the paper is exposed by light and thus, the more light that passes through the negative, the darker the print will become. When any photographic material is exposed to light, an exposure is achieved.
Example situations:
1. A test print that appears too dark can be corrected by:
a) adjusting the f-stop to a higher number, (e.g.: from f8 to f11), which will result in less light passing through the lens to expose the paper. This is referred to as closing down the lens.
b) cutting down on the amount of time the paper is being exposed, (e.g.: from 10 seconds to 5 seconds).
2. A test print that appears too light is corrected by:
a) adjusting the f-stop to a lower number, (e.g.: from f8 to f5.6), which will allow for more light to pass through the lens. This is referred to as opening up a stop.
b) adding exposure time to the print, (e.g.: from 6 seconds to 10 seconds).
Exposure on a print is affected by:
- the f-stop number
- the amount of time the light hits the paper
- the lens to paper/easel distance (e.g.: a 5X7 print will require less exposure than an 8X10 print of the same negative because the lens is closer to the paper and thus concentrates more light unto the print.)
- printing filters (e.g.: contrast filters # 4-5 require 100% more exposure than the other filters. All filters require more exposure than a test made without filters.)
Prints have to also be evaluated for contrast.
Contrast refers to the visual relationship between the blacks, whites and grays in the print.
When using contrast or Multigrade papers, contrast is adjusted by using filters.
CONTRAST CONTROL WITH FILTERS:
Contrast filters can be used with the appropriate papers in order to alter and/or correct print contrast. Prints that have an overall gray look and need more definition between blacks an whites will require a filter #21/2 or higher. Many enlargers have built in contrast filters where you simply have to “dial in” the contrast, expose the paper and test the results.
FILTERS ABOVE #2 INCREASE THE CONTRAST OF PRINTS.
The higher the numerical designation of a filter, the higher the contrast.
Prints that are seemingly high in contrast will require a correction with a filter #1 1/2 or lower.
FILTERS BELOW #2 WILL REDUCE THE CONTRAST OF A PRINT.
What to look for in the print:
Expose your print so that good blacks with details are obtained; then look at the whites. Do the whites “read” as white, or are they too gray? Try to achieve good blacks, good whites, but neither so extreme that it results in the elimination of details that exist on the negative. Is there a good balance and scope of grays in your print?
- Does the print look too harsh or too gray? Would contrast filters help in either boosting up the blacks or toning them down?
- Good overall “feel” as it relates to the image. (I know this is vague, but you will know what I mean once you make a few prints.) In other words, does the print help to communicate the original intention of the image? This type of thought process also relates to the size of the print. size is an important consideration. Some images “demand” larger prints than others in order to be experienced as the photographer intended and vs.