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التصوير الفوتوغرافي الحديث
معدات الغرفة المظلمة ..
تخطيط الغرفة المظلمة ..
طلاء الغرفة المظلمة ..
مقعد تكبير ..
PAINTING THE DARKROOM
The color scheme for the darkroom interior should be very light . Dark walls cut down the over - all illumination and make the darkroom cheerless and de pressing . If the safelights are really safe ( there is no ex cuse for any other kind ) , there . is absolutely no reason for having dark , depressing walls .
Use a glossy wall paint , because it does not pick up dust as easily as a dead matte paint . It also wears better and can be washed much more easily . This is quite important near the sink and developer bench . where a certain amount of splashing cannot be avoided . Paint a band of some dark color , such as brown or maroon , wherever splashing may occur .
Figure 4 Illustrated are four possible light - trapped air vents which you can build into your own darkroom .
ENLARGER BENCH
The most comfortable working height for the person of average stature is about thirty - six inches . If you are quite tall , add two or three inches ; if you are under average height , lower the bench two inches or so .
You can cut out a two foot wide section of the bench top just underneath the enlarger and make it removable , as illustrated in Figure 5. Fit the bench legs with a second set of rails eighteen to twenty - four inches below the first so that the removable section can be dropped that amount when you want to make an ex treme enlargement from only part of the negative . You will find this arrangement much more convenient than projecting onto the floor . It has the further important advantage of keeping the enlarger head within easy reach for focusing even with extreme blow - ups . This is an important point for the photographer who consistently enlarges his negatives to 14 x 17 or larger . As an added convenience , you can convert the top into a drawer with a light - tight front so that you can keep unprotected paper in it while enlarging .
Figure 5 Simple but effective enlarger bench .
MOUNTING THE EN LARGER . Many enlargers are shaky and unstable when raised to anywhere near their top position . If this descrip tion fits yours , you have only one alternative support the upright at both top and bottom . The top support can be quite simple - run a strip of wood out from the wall , cut a notch in it , and fix the enlarger upright into the notch with a thin strip of sheet metal .
The upright provided as standard equipment with many enlargers is too short for really big enlargements . You can remedy this by discarding the enlarger baseboard alto gether and mounting the up right against the wall about six inches above the bench , as shown in Figure 6. In remounting the enlarger , you must get it absolutely square with the bench top or else the projected image will be distorted . Use a spirit level to line up the vertical arm of the enlarger to make sure it doesn't lean appreciably in any direction . ( Figure 7. ) The top of the enlarging bench should , of course , also be checked to make sure it is level .
Figure 6 Fasten your enlarger at the top and bottom to reduce vibration and to get sharper pictures . Here are a few sug gested methods .
DEVELOPER BENCH
Regardless of any other consideration , be sure to build your developer bench high enough for comfort . Remember that you develop your prints standing up , so make your bench high enough to permit you to stand without stooping . A tall man would probably find a height of forty - two inches about right , while a woman or a short man might prefer thirty - six . Before you decide on the best height for your own use , set a tray at various heights and go through the motions of leveloping a print , using a discarded print as a guide , examine it closely for detail so as to be sure of getting the best viewing distance . If you are somewhat nearsighted , you will prefer a higher bench ; if farsighted , a lower bench . Such matters may seem trifles , but your comfort in the darkroom will have an important bearing on the quality of your work .
LOCATION . There are two excellent reasons for separating the developer and enlarger benches : convenience and . cleanliness . The height require ments for both benches are different , so that the developer bench will generally be higher than the enlarger bench . More important , however , is the need for keeping the enlarger and everything about it scrupulous ly clean . It is impossible to avoid some splashing when processing film or paper ; if splashes of chemicals get too near the enlarger , they will eventually cause trouble when the water evaporates and the residue is blown about as fine chemical dust .
The developer bench may be a continuation of the chem ical bench and sink . The developer bench and sink gener ally go together , that prints may be transferred from the fixing bath to the wash tray with the least amount of solution dripping . Many commercial darkrooms combine the washing sink and developer bench by having one very long shallow wooden tank at least six feet long fitted with wood slats on which the trays rest . This arrangement of slats is called a duckboard . This sink then becomes a processing sink and serves both as a developing bench and sink . The sink is used for all processing which may cause splashing or dripping of solutions , thus avoiding the cleaning problem almost entirely .
Figure 7 Use a carpenter's level when setting up an enlarger . This will ensure square , undistorted enlargements .
SIZE . The developer bench should be large enough to take three trays , placed end to end , of the largest size you generally use . Allow about an inch between trays . and add a little at both ends for comfort . This works out to a minimum of forty - two inches for 8 x 10 trays , fifty - six inches for 11 x 14 , and sixty - five inches for 14 x 17. A developer bench this long will give you enough room for your regular work and will permit you to make larger prints as well . For example , if your bench is fifty - six inches long , the recommended length for 11 x 14 prints , it will easily accomodate three 14 x 17 trays side by side instead of the end - to - end arrangement . In an emergency , you can even make 16 x 20 prints by omitting the stop - bath altogether , although this is not recommended as a regular procedure .
Because of the space required to handle three good - sized trays , it is advisable to combine the developer and chemical benches . An over - all length of five to six feet will then give you plenty of space for any print size up to and including 16 x 20. You will seldom , if ever , want to measure out chemicals while the bench is taken up with trays , so if the bench is large enough for the trays , you needn't make any allowance for mixing chemicals .
معدات الغرفة المظلمة ..
تخطيط الغرفة المظلمة ..
طلاء الغرفة المظلمة ..
مقعد تكبير ..
PAINTING THE DARKROOM
The color scheme for the darkroom interior should be very light . Dark walls cut down the over - all illumination and make the darkroom cheerless and de pressing . If the safelights are really safe ( there is no ex cuse for any other kind ) , there . is absolutely no reason for having dark , depressing walls .
Use a glossy wall paint , because it does not pick up dust as easily as a dead matte paint . It also wears better and can be washed much more easily . This is quite important near the sink and developer bench . where a certain amount of splashing cannot be avoided . Paint a band of some dark color , such as brown or maroon , wherever splashing may occur .
Figure 4 Illustrated are four possible light - trapped air vents which you can build into your own darkroom .
ENLARGER BENCH
The most comfortable working height for the person of average stature is about thirty - six inches . If you are quite tall , add two or three inches ; if you are under average height , lower the bench two inches or so .
You can cut out a two foot wide section of the bench top just underneath the enlarger and make it removable , as illustrated in Figure 5. Fit the bench legs with a second set of rails eighteen to twenty - four inches below the first so that the removable section can be dropped that amount when you want to make an ex treme enlargement from only part of the negative . You will find this arrangement much more convenient than projecting onto the floor . It has the further important advantage of keeping the enlarger head within easy reach for focusing even with extreme blow - ups . This is an important point for the photographer who consistently enlarges his negatives to 14 x 17 or larger . As an added convenience , you can convert the top into a drawer with a light - tight front so that you can keep unprotected paper in it while enlarging .
Figure 5 Simple but effective enlarger bench .
MOUNTING THE EN LARGER . Many enlargers are shaky and unstable when raised to anywhere near their top position . If this descrip tion fits yours , you have only one alternative support the upright at both top and bottom . The top support can be quite simple - run a strip of wood out from the wall , cut a notch in it , and fix the enlarger upright into the notch with a thin strip of sheet metal .
The upright provided as standard equipment with many enlargers is too short for really big enlargements . You can remedy this by discarding the enlarger baseboard alto gether and mounting the up right against the wall about six inches above the bench , as shown in Figure 6. In remounting the enlarger , you must get it absolutely square with the bench top or else the projected image will be distorted . Use a spirit level to line up the vertical arm of the enlarger to make sure it doesn't lean appreciably in any direction . ( Figure 7. ) The top of the enlarging bench should , of course , also be checked to make sure it is level .
Figure 6 Fasten your enlarger at the top and bottom to reduce vibration and to get sharper pictures . Here are a few sug gested methods .
DEVELOPER BENCH
Regardless of any other consideration , be sure to build your developer bench high enough for comfort . Remember that you develop your prints standing up , so make your bench high enough to permit you to stand without stooping . A tall man would probably find a height of forty - two inches about right , while a woman or a short man might prefer thirty - six . Before you decide on the best height for your own use , set a tray at various heights and go through the motions of leveloping a print , using a discarded print as a guide , examine it closely for detail so as to be sure of getting the best viewing distance . If you are somewhat nearsighted , you will prefer a higher bench ; if farsighted , a lower bench . Such matters may seem trifles , but your comfort in the darkroom will have an important bearing on the quality of your work .
LOCATION . There are two excellent reasons for separating the developer and enlarger benches : convenience and . cleanliness . The height require ments for both benches are different , so that the developer bench will generally be higher than the enlarger bench . More important , however , is the need for keeping the enlarger and everything about it scrupulous ly clean . It is impossible to avoid some splashing when processing film or paper ; if splashes of chemicals get too near the enlarger , they will eventually cause trouble when the water evaporates and the residue is blown about as fine chemical dust .
The developer bench may be a continuation of the chem ical bench and sink . The developer bench and sink gener ally go together , that prints may be transferred from the fixing bath to the wash tray with the least amount of solution dripping . Many commercial darkrooms combine the washing sink and developer bench by having one very long shallow wooden tank at least six feet long fitted with wood slats on which the trays rest . This arrangement of slats is called a duckboard . This sink then becomes a processing sink and serves both as a developing bench and sink . The sink is used for all processing which may cause splashing or dripping of solutions , thus avoiding the cleaning problem almost entirely .
Figure 7 Use a carpenter's level when setting up an enlarger . This will ensure square , undistorted enlargements .
SIZE . The developer bench should be large enough to take three trays , placed end to end , of the largest size you generally use . Allow about an inch between trays . and add a little at both ends for comfort . This works out to a minimum of forty - two inches for 8 x 10 trays , fifty - six inches for 11 x 14 , and sixty - five inches for 14 x 17. A developer bench this long will give you enough room for your regular work and will permit you to make larger prints as well . For example , if your bench is fifty - six inches long , the recommended length for 11 x 14 prints , it will easily accomodate three 14 x 17 trays side by side instead of the end - to - end arrangement . In an emergency , you can even make 16 x 20 prints by omitting the stop - bath altogether , although this is not recommended as a regular procedure .
Because of the space required to handle three good - sized trays , it is advisable to combine the developer and chemical benches . An over - all length of five to six feet will then give you plenty of space for any print size up to and including 16 x 20. You will seldom , if ever , want to measure out chemicals while the bench is taken up with trays , so if the bench is large enough for the trays , you needn't make any allowance for mixing chemicals .
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