Building a Darkroom

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This essay provides insights into the principles and essentials required for setting up an amateur darkroom. 

Initial Phase

How did this crazy idea start?

Almost every analog photographer has felt the temptation to develop their first roll of film. Maybe you attended a workshop, watched a movie, or read a book that sparked your fascination. The magic of transforming a latent image into a tangible negative captivates you, and you decide to try it. Armed with some basic chemistry and a few improvised household containers, you embark on this journey for the first time. The process is mesmerizing, and before you know it—you’re hooked.

The next step is buying equipment, often from eBay, to improve your process. If you’re handy, you might even build your own devices, whether to save money or add a personal touch. The list of essentials quickly grows: thermometers, safelights, enlargers, trays for developing, washers, timers, pipettes, flasks, cylinders, and funnels.

Before long, your darkroom ambitions start taking over your home. Bathrooms and laundry rooms are often the first to be transformed, or if you’re lucky, a spare room with access to water becomes your workspace. But as your setup grows, so does the space it requires, and this is usually when conflicts arise… When you reach this point, you enter the next phase.

Phase II: Investigating

You’ve likely come across books, such as The Print by Ansel Adams, which detail the layout of professional darkrooms or the excellent Ilford Manual of Photography  (Fig. 1). The first darkroom layout I consciously studied was in The Print, and it offers valuable insights into designing an efficient workspace.

A well-organized darkroom typically consists of two distinct sections: the wet side and the dry side.

  • The Wet Side: This area is dedicated to chemical and water tasks. Here, you’ll find trays or developing machines, a washing sink, cabinets, racks, or shelves for storing chemistry and tools like timers.
  • The Dry Side: This section is reserved for tasks that don’t involve liquids. It houses the enlarger, a mounting press, a film dryer, and other equipment for printing and finishing such as a paper cutter.

This separation ensures workflow efficiency and minimizes the risk of contamination between wet and dry processes.

Once you start consciously exploring this subject, the wealth of information quickly grows. You’ll encounter details such as the minimum space required, recommended materials, ceiling height, ventilation systems, and proper use of safelights—all crucial for designing an effective darkroom.

The fundamental components of a darkroom include:

  • The Enlarger: Essential for projecting and enlarging negatives onto photographic paper. In my case, I opted for the LPL 7451 4″x5″ enlarger, a reliable and versatile model. I was lucky enough to find one in excellent condition and at a good price in a 2nd hand workshop in the UK. When it came to selecting a lens for the enlarger, I referred to the excellent book Post Exposure by Ctein, which provides an exhaustive comparison of enlarging lenses. Based on the detailed analysis presented in this book, I decided on the Schneider-Kreuznach Componon-S 5.6/150, renowned for its sharpness, contrast, and overall performance. This combination has proven to be a solid choice for high-quality enlargements.
  • The Sink: A workspace for washing prints and maintaining the wet processes.
  • The Film and Paper Development Processor or Trays: Used for developing prints or film. This was one of the critical investments. I decided to design and build my own. I called FPP-3. With the FPP-3, I can develop paper up to 40×50 cm using Jobo tanks either in B&W or color. I also got some trays for B&W up to 8×10″ paper.
  • A Film Drying Cabinet: Ensures dust-free drying of film for optimal results. Similarly to the FPP-3m I decided to build my own. I called D2f (Dust-free Drying film cabinet). A new post will be written for this component…
Fig. 1: Suggested lay-out for professional darkroom - wet bench (source: Ilford Manual of Photography, p. 480). Color adapted by the author.

These elements form the backbone of a functional darkroom, ensuring a streamlined workflow and enabling high-quality photographic output.

For general information on planning a darkroom and understanding its main components, I recommend the following books:

  • The Print by Ansel Adams – A classic guide that provides invaluable insights into darkroom layouts, techniques, and processes.
  • Way Beyond Monochrome by Ralph W. Lambrecht and Chris Woodhouse – A comprehensive resource covering advanced darkroom practices and equipment choices.
  • Building a Home Darkroom by Kodak – A practical manual detailing layouts, essential materials, and technical specifications for darkroom construction.
  • The Darkroom Handbook: A Complete Guide to the Best Design, Construction, and Equipment for Photographers by Dennis Curtin & Joe DeMaio is a comprehensive resource for photographers seeking to build or optimize their darkroom. It covers all aspects of darkroom design, including layout planning, equipment selection, and the functionality of wet and dry areas.

These resources offer both foundational knowledge and detailed guidance to help you design and set up an efficient darkroom.

Phase III: Planning  The Darkroom and Challenges

Creating a dedicated darkroom at home required a serious reorganization of my living space. Fortunately, my family was incredibly supportive throughout the process. After weighing the pros and cons of various options—ranging from converting my study-room to building a garden shed (and even some crazier ideas)—we concluded that the most practical and cost-effective solution was to transform my study-room into the darkroom and move the study to a dormitory . The proximity to existing water connections made this choice much simpler and faster to execute.

For the planning phase, I started by sketching an initial layout on millimeter paper (Fig. 2), ensuring the design was both functional and efficient. This helped me visualize the workflow and estimate the space required for key components like the enlarger, sink, and drying area. With the sketch in hand, I began creating a budget, carefully noting down everything from materials to equipment.

While most of the work, like painting and installing shelves, was done by myself, I enlisted the help of a plumber for the cold and warm water connections as well as the installation of the sink. Having professional help for these tasks ensured they were done safely and efficiently.

Materials Used in My Darkroom Construction

For the darkroom construction, I carefully selected materials that balanced functionality, durability, and cost-effectiveness. Here’s a breakdown of the main materials used:

Cabinets

  • Brand & Type: IKEA Metod cabinets in white with a simple finish.
  • Features: Cost-effective, easy to install and maintain.
  • Accessories: Aluminum handles and stainless steel legs for durability.

Blackout rolls

  •  Type: Black, opaque and thermal insulation

Wall Protection

  • Material: High-Pressure Laminate (HPL) plates.
  • Advantages: Heavy-duty durability, resistance to scratches, moisture, and chemicals. The non-porous surface is easy to clean and maintain, with heat resistance and a polished aesthetic finish.

Sink

  • Material: Quartz composite, black.
  • Dimensions: 72 x 46 cm. I do not need a long sink because I use the 
  • Features: Extremely resistant to chemical action, durable, and easy to clean.

Painting

  • Colors: White and matte chalk black for a professional, clean, and visually neutral environment with minimum reflections close to the enlarger.

Thermostat

  • Brand: Geberit.
  • Feature: Controls warm water temperature precisely at 38°C for consistent chemical mixing.

Laboratory Tap

  • Brand: FAR MDS 1-hole mixer tap.
  • Features: Swivel spout and hose nozzle for flexibility and convenience.

Lighting

  • Types: Lab neon lamps with a color temperature of 4000K for natural and balanced illumination. Safelight: Red (Paterson).

Working Plates

  • Material: Chipboard in black (U999 ST9).
  • Features: Durable surface with metal cable apertures for efficient organization.

Each material was chosen to ensure a streamlined workflow, longevity, and a professional finish for the darkroom. This combination of elements creates a workspace that is both practical and aesthetically pleasing.

Fig.2: Lay-out of my darkroom (version 3)

PHASE IV: Building the Darkroom

The construction process for the darkroom was straightforward and followed a systematic approach:

  1. Painting:
    The first step was painting the walls and ceiling. This was my first experience creating a perfect division of colors on the ceiling. I achieved this by using a laser level for precise alignment and FrogTape to ensure sharp, clean edges between the white and matte chalk black areas.
  2. Cabinet Assembly:
    Next, I assembled and installed the IKEA Metod cabinets. These served as the foundation for storage and organization within the darkroom.

 

  1. Installation of Working Plates and Wall Protection:
    The working plates, made of chipboard, were mounted securely. High-pressure laminate (HPL) plates were installed on the walls for protection against moisture, chemicals, and scratches while adding a polished finish.
  2. Electrical Installations and Lighting:
    Finally, I set up the electrical system and installed lab neon lamps (4000K) for even and neutral lighting. The electrical wiring was carefully routed to ensure safety and practicality in the workspace.

The final result is shown in Fig. 3, showcasing a functional and aesthetically pleasing darkroom ready for use.

Phase V: Light-Tight Test

To ensure that the planned and constructed darkroom is completely free of light leaks, the photographic paper test must be performed. This test compares a light-sensitive photographic paper strip (e.g., 4 x 20 cm) exposed in the darkroom with an unexposed control strip. The process is as follows:

  1. Place a small sheet of unexposed black-and-white photographic paper on the dry bench, where materials are typically prepared before exposure.
  2. Leave the test strip (marked) undisturbed for at least 3 minutes in complete darkness.
  3. Develop both the test strip and an unexposed control strip using the standard development procedure.
  4. Compare the results:
    • If the test strip remains identical to the control strip, showing no signs of fogging or gray areas, the darkroom is confirmed to be light-tight.
    • If any fogging or gray areas is present, there may still be light leaks that need to be addressed.

The results of the test are shown in Figure 4. The cut strip (corner) displays a pure white color, identical to the control sample. This confirms that the darkroom is safe for use.

Fig. 5: Results of the light-tight test. Left strip was exposed. Right strip is the control.

Inaugural Printing Session

The following pictures illustrate the process of making a print in my newly built darkroom. After years of improvising in the laundry room and months of planning and construction, the experience of creating this print (Fig. 6) was truly exceptional. Everything is perfectly in place—water, paper, ample space, and no light leaks. This is a day I will never forget.

Fig 6: (a) Final Print

This Post Has One Comment

  1. Mari Beltran

    Congratulations! How exciting to see your passion for analog photography! It’s amazing how one small spark can evolve into a full-blown journey. Felicitaciones!

    1

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