| Equipment |
Enlargers
There are two main types of enlargers for the home darkroom:
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Condenser Enlarger
This type of enlarger has a sharp, undiffused light that produces high contrast and high definition in a print. This enlarger is less forgiving on scratched negatives, as scratches will be emphasized on the print. (If you occasionally have a scratch on the print, these can usually be retouched with retouching dyes, a brush and a little patience.... retouching is actually a valuable skill to learn).
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Diffusion Enlarger
This type of enlarger scatters light before it strikes the negative, distributing light evenly on the negative. Detail is not as sharp as with a condenser enlarger, but negative blemishes are minimized.
The diffusion enlarger will cost you more to purchase and replacement bulbs will also cost more than bulbs for the condenser enlarger.
By removing the enlargers "head" (light source and lens assembly) and replacing it with a color head, most enlargers can be converted to color use. This can be quite expensive, but with the addition of a color negative analyzer, you can then make color prints relatively easily.
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Color Head Enlarger
An enlarger with a color head can also be used very effectively to print black and white negatives in the darkroom. The color head will allow you to dial in variable contrast filtration. Increasing amounts of magenta filtration will result in a higher contrast print, whereas increasing yellow filtration will give you a lower contrast print.
Always set the Cyan dial to zero
For higher contrast - use Magenta filtration and zero, to a small amount of Yellow
For lower contrast - use Yellow filtration and zero, to a small amount of Magenta
Using Ilford Multigrade paper - you can try the following -
but remember each manufactures enlarger will behave differently!-
Grade 0 = approx 110Y
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Grade 1= approx 70Y
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Grade 2= approx 0M & 0Y
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Grade 2.5= approx 30M
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Grade 3= approx 45M
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Grade 3.5= approx 55M
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Grade 4= approx 95M
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Grade 5= approx 170M
NOTE: These are approximations only - you will have to do a few tests with your own enlarger or email the manufacturer for recommendations!
Color Head Settings Chart from Andrzej Wierzchon in Warsaw Poland
See the following articles for interest:
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If you are using good scratch free negatives, you will not notice a dramatic difference between the different types of enlargers and all will make excellent prints.
I like my condenser type enlarger (Beseler 23C), which I bought 28 years ago when I didn't have a lot of spare cash. I have made a lot of very nice prints with this machine and have no need, or desire to change to the diffusion type. Most home darkrooms are used to process 35mm film. Make sure the enlarger that you are interested in, is compatible with 35mm negatives (most enlargers for home use, fall into this catagory). If you think that in the future you might be interested in stepping up to larger format negatives, such as 2-1/4 x 3-1/4 negatives, check to see if the enlarger is capable of handling that format as well. With the addition of the other size negative carrier, my Beseler 23C will handle both size negatives.
Buying a used enlarger? - if you are careful and do your research, you may find a good used machine. Contact a few large photo supply stores and ask if they have any used enlargers in the format you are interested in. You can also investigate camera clubs in your area - they could be a valuable source of expertise and used equipment. If buying from a newspaper advertisement, see if the seller can demonstrate an actual exposure and develop the print while you watch. You can then judge the print quality, focus, etc. I would consider any brand of enlarger, as long as it appears to be of good substantial construction. Make sure that it has a good quality lens in the 50mm range with an f-stop range of about f 2.8 to f 16. My lens is a Rodenstock Rodogon 50mm and has click stops in half stop increments from f2.8 to f16. the half-stop click stops are not necessarily needed. If the lens is used, examine it closely if possible - it should look nice and clear and shiny - no cloudiness or mold spots visible on the inner surfaces. Or you can buy a used enlarger and then purchase a new lens for it - check compatibility, availability and price of the lens before you buy the used enlarger.
The f-stop of the lens controls the amount of light that is projected onto the easel.
The timer, controls how long that same amount of light is projected to the easel.
Filters - (Enlarger)
A set of inexpensive neutral density variable contrast acetate printing
filters for the enlarger.
The filters allow you to use what is called "multigrade" paper - the filters when placed in the
enlargers light path, either in combination or as a single filter, allow you to "change" the contrast of
the paper. The higher the filter number - the higher the contrast of the print. So if you have a
rather flat looking print, you reprint using a higher number filter.
In the past these filters required a correction to the exposure whenever the strength of the filter pack was altered. Manufacturers now incorporate neutral density into the filters. Now altering contrast is much easier - establish the correct exposure and then adjust filtration to alter the contrast.
If you are using a filter pack in the range of 0 to 3.5 then all that the filters will do is change the contrast, not the exposure. Because the filters have neutral density, the exposure should stay the same, even though you increase or decrease the filter pack. In other words if you have a properly exposed print(darkness or lightness), (but poor contrast), then changing the filter pack anywhere in the range of 0 to 3.5 should not require an adjustment in either the exposure time or the lens f-stop.
On the other hand, if you were to add filtration in the range of 0 to 3.5 to a print that had not had any filtration used for the original printing, then you would have to increase the exposure by 1 f-stop - Example: f11 to f8 (larger lens opening = lower f-stop number = more light to print = more exposure = darker print).
If you were to increase the filter pack from the 0-3.5 range, to the 4 to 5 range, then you would need to increase the exposure by an additional f-stop.
The idea of using variable contrast paper and the associated filters is economy - rather than buying a box of each grade paper, you just buy a box of multigrade paper and a set of inexpensive, thin acetate filters. This allows you to purchase a box of paper in your choice of finish and size,
say 'glossy' 8x10, verses the alternative of having to purchase one box of contrast grade 0; one of contrast
grade 1; one of grade 2; etc.
Note: It might be necessary
to trim down the acetate filters with a pair of scissors, in order for
them to fit into the filter drawer, as not all drawers are of uniform size.
Safe Lights
A safe light is a light tight enclosure, with the appropriate filter, to block the spectrum of light which would expose the type of photographic paper that you are using. Behind the filter is an ordinary light bulb, usually about 15 watts, depending on the enclosure's specifications. A safe light filter for a black and white darkroom is usually a yellow-brown in color (Kodak's designation is "OC"). The red filters that you commonly see used in television movies, are for dramatic effect only and not normally used in the home darkroom. The problem with using a red filter is that although they will prevent exposure of the paper, they make it difficult when trying to evaluate the developed print. Red filters are normally used only on special applications (special use films, etc) and are not generally found in the home darkroom. Purchase new safe light enclosures with new "OC" or equivalent filters. Used safe light enclosures are risky and may be a waste of your money - consider new if you can afford them.
Purchase at least one safe light for the dry area and one for the wet area. Equip each with a light bulb to match the rating marked on the safelight enclosure - usually about 15 watts.
Film Processing Tank
One 35 mm film processing tank (or one
to match the film format that you are using)
available in various capacities (2 or more reels)
(plastic or stainless steel).
Thermometers
1 low temperature range for mixing your stock solutions with water in preparation for film or print development and 1 high temperature range (Only needed if you decide to mix your own stock solutions from dry prepackaged contents like Kodak Dektol)
Print Trays
Size dependent on your needs. You can generally use an 8x10 tray for processing 8x10 prints and an 11x14 tray for 11x14 prints, although you will get a more uniform development by using a larger tray, than the paper you are developing. The reasoning here is that you get a better circulation of developer around the print when using a tray that is larger than the print.
Timers
While not necessary (you can use your wristwatch), digital or analog darkroom timers are nice as they are generally larger and more luminescent. Its nice to have a dedicated timer for your dry area and another for your wet area. The timer for your wet area (print processing), should have a good size luminescent dial that is easily readable under the low light illumination of a safelight.
Print Washing Tray
Large print trays can also be used for washing finished prints (16x20 tray)(unless
your sink has a built-in wash area)
or use, as I do, a separate laundry sink dedicated to washing prints ONLY!
Print Tongs
Tongs for handling prints while processing (1 for each solution)(usually 3 - developer; stop bath; fixer). You definitely want to minimize frequent contact with potentially toxic chemical solutions. You should also label your tongs, so that they are never placed in the wrong solution. Even though you may have washed them, there will still be residual chemicals on them. If you were to place the tongs that you last used for 'fixer' into your 'developer' solution, you may deplete the 'developer' significantly.
Under no circumstances backward contaminate your processing solutions. Each tray should have its own set of rubber tongs, and they must stay in the proper trays. If you accidentally contaminate your developing solution with stop bath or fixer, pour the developer down the drain and mix up a new batch. I always label my tongs, so that I always begin my processing with them in the correct solution.
Optional Equipment
Contact Sheet Maker
A contact sheet frame will allow you to make a print of 24 to 36 negatives on one sheet of 8x10 paper. Each image (picture) will be the same physical size of the negative. This is a great tool to quickly appraise your negatives and their potential for making a good print, allowing you to decide which of your negatives are worthy of printing to larger paper.
Focusing Aid
Grain focuser (focusing aid, allows you to focus onto the grain of the image - while projecting the image onto the easel, adjust the grain focuser until the grain "snaps" into focus). Very handy, even for those us of that have excellent eyesight.
Compressed Air
A can of Compressed Air (approx 10 ounces) - used to gently blow dust from negatives. Once you have placed a negative into your enlargers negative carrier, hold the negative and carrier vertically, give the negative a short blast of air to both sides and then place the carrier into the enlarger. If you were to do this procedure with the negative in a horizontal position, (hence the compressed air can also in a horizontal position) you would risk dispensing some of the liquid contents of the can onto your precious negative - possibly ruining the negative.
Easel
Used to hold a sheet of unprocessed paper
securely in position under the enlargers light. The borders can be easily adjusted to give
various sizes of white borders around your finished image (blocks the light from hitting the paper, hence giving
you a nice white border - I generally set mine to 1/8th of an inch). The easel also allows you to size and compose
your image, by projecting your image directly onto the empty easel. Then when you are satisfied
with your composition and focus, make sure your room light is turned off and your safelight
is turned on. Set your enlargers lens to the f-stop you have chosen and open the easel and
accurately insert the sheet of photographic paper. Close the easel and activate your timer
which is attached to the electrical supply of your enlarger.
The print is now exposed for the time you have selected, and ready to process in your
developer solution. An 11x14 easel is ideal, this will allow you to compose an image 11x14 or smaller)
This can be done without an easel, but is a little tedious.
Radio
Darkroom activity can be a little lonely at times.
Gadgets
Various other gadgets at your local photographic supply store.