Now I know everyone out there in analog film world has an opinion on the subject of darkrooms, but having come to this party after the digital revolution I think much of the advice offered on forums is out of date. I've recently gone through the process of setting up my darkroom and I think sharing my though process will be helpful for the next person coming down the same path. I know I would have liked to have read this post a few years ago!
First off, can I dissuade you from creating a darkroom at all? There are simply much more compelling alternatives available to be considered:
(a) Go ADD: Analog Input - Digital Post Process - Digital Output
By which I mean shoot and develop your analog film, but then scan the result into a digital workflow for post processing, and then output the results again digitally on a high end Inkjet printer. If you use a dark bag and tanks to develop your film you don't need a darkroom at all and limited amounts of chemicals to develop the film. Think no space / little mess. Scanning the results into a computer is quick and easy, digital post-process is much easier and more versatile than anything that can be done in the "dodging and burning" analog world, and then talk about simplicity of outputting multiple copies of the same image on a inkjet printer! The quality of a high end Inkjet is really breathtaking and very similar to Silver-Gelatin.
See Table 1. for my recommendations for a set-up like this.
(b) Go ADA: Analog Input - Digital Post Process - Analog Output through Platinum Process in a Dimroom
By which I mean shoot and develop your analog film, scan the result into a digital workflow for post processing, output the results as a digital negative on plastic sheets using a high end inkjet printer, and then contact print the "negative" with chemicals. But I'd go one step further in my recommendations - don't print using the silver gelatin process because then you will need a darkroom. Instead print in the beautiful Platinum/Paladium process which only needs a dimroom. Now I'm sure many people reading this will think I've gone off my meds, they will be saying isn't Platinum printing expensive, complicated, time consuming, and just plain arcane? The answer is no because:
See Table 2. for my recommendations for a set-up like this.
(c) Go ADA with a Jobo
If you don't want to give up on Silver-Gelatin printing, but also don't want a large darkroom because of space or cost considerations, the Jobo Rotary Processor may be just the thing. Not only can you develop your film in a dark tank or drum but you can also develop your Silver-Gelatin prints in larger purpose sized tanks. You just need to find a way to contact print the paper and get it into the drum all in the dark. This may be doable in a well darkened bathroom used at night.
(e) Go DDA with a professional Film Negative
This is sort of a variation of option (b). You can capture the image digitally with your digital camera, post-process as you would normally digitally, reverse the image to make a negative, apply a curve to the negative for the analog printing process you want to use (this will be different for silver gelatin versus platinum for example), and then contact print that negative using a regular darkroom process. The advantages are you don't have to mess with capturing the image in an analog camera with its associated narrower dynamic range, you don't have to develop the film, or scan it, and you don't have to use an optical enlarger as that step can be done in a computer, and the negative you professionally outsource production of is not only on film but at a high 2400 DPI which turns out to be far superior to what can be achieved with a InkJet printer. Have a look at Film2Film.com for pricing and the possibilities with digital film negatives.
(e) Rent a Darkroom
It's never been easier to find a darkroom for rent now that we have Ilford's Find Darkroom website. Generally you just bring your photo paper and the rest is all set-out ready to use. No clean-up, no need to worry about what to do with your chemicals like your fixer or selenium toner, no investment in a darkroom or enlarger. No need for a dedicated space in your house or apartment. In fact, you may not have the ceiling height necessary to house an analog optical enlarger for 4x5 or 8x10 film anyway. In San Francisco we are lucky enough to have two excellent public darkrooms, The Harvey Milk Photo Center and The Rayko Photo Center. But even if no public darkrooms are available may private ones may be just an introduction away through a local analog photo group - just check Meetup.com in your local area.
So I couldn't dissuade you? You must have a full-on darkroom for Silver-Gelatin printing? In that case, I say be a circling vulture on the lookout. Old professional photographers are still dying leaving fully equipped darkrooms to be dealt with by their families. Photolabs are getting rid of old analog equipment. Schools are closing their analog darkrooms. Craigslist and to a lesser extent Ebay can be a treasure trove of information. Here are some pointers to help you stretch your dollars and get the right equipment for the long run:
Stick to one or two film types which are easily found - e.g. Ilford FP4+ (125 ISO i.e. medium speed, forgiving B&W film) and a higher speed film like Ilford HP5+ (ISO 400)
Pyrocat-HD in glycol is a staining film developer that can produce a single negative that has two densities for silver (visible light) or platinum (UV light) printing, plus it's quite cheap and lasts forever. The downside is that it is a little toxic so you need to wear gloves. Otherwise, I'd suggest Rodinal for a cheap and long-lasting developer.
Analog Input: |
Medium Format Scanner: Plustek OpticFilm 120 for up to 6x12cm |
Large Format Scanner: Epson Perfection V800 for 4x5 and 8x10 Film |
Digital Post-Processing: |
Computer: Apple Mini |
Software: Vuescan, Photoshop |
Digital Output: |
Printer: Epson Stylus Pro 3880, or the replacement Epson SureColor P800 |
Analog Input: |
Medium Format Scanner: Plustek OpticFilm 120 for up to 6x12cm |
Large Format Scanner: Epson Perfection V800 for 4x5 and 8x10 Film |
Digital Post-Processing: |
Computer: Apple Mini |
Software: Vuescan, Photoshop |
Analog Output: |
Printer: Epson Stylus Pro 3880, or the replacement Epson SureColor P800 onto Pictorico OHP Transparency Film |
Paper: Bergger Cot 320 |
Chemicals: Sensitizer: Palladium Solution #3 Standard - 25ml, Platinum Solution #3 - 10 ml, Tween 20 10% sol - 25ml, Ferric Oxalate Sol. #1 - 100ml / Developer: Potassium Oxalate (1qt) / Wash: EDTA Tetra Sodium - 250gm, Citric acid - 1000 grams, Sodium sulfite (All can be purchased from Bostick & Sullivan) |
Brushes: 2" (5cm) Sterling Watercolor Brush, 3" (7.5cm) Sterling Watercolor Brush (Can be purchased from Bostick & Sullivan) |
Moisture Meter: General Tool & Instruments MMD4E |
Contact Frame: 16x20" and 11x14" Custom Made by Douglas Kennedy |
UV Lightsource: Aristo UV Lightsource |
Ventilation: Eepjon Hoods and systems are great. Don't skim on ventilation when using chemicals with heavy metals. |
Gloves: Nitrile Gloves, 100 pack - Medium Size |
Trays: Cescolite especially dimpled version which is only available in certain sizes |
Sink: Large enough for 5 trays side by side in your largest format size |
Print Washer: Versalab are inexpensive but a little bit of a pain to put together, if you can get a 2nd hand premium clear plastic washer for cheap go with that. |