Dark rooms

[Reney]

Hello, I am an Art Technician and ex ballet dancer,

We have recently started an A-level photography course and I need plenty of advice regarding Old-fashioned darkroom equipment. Excuse the extreme lack of knowledge. I have so many questions.
First question - which is important before we buy developers - Can you develop colour in a dark room that uses a red light bulb?

Reney

 

[G.K.Jnr.]

Hi, And welcome aboard TP. "Enjoy"

 

[TheBigYin]

Hi Reney...

i've moved this thread over to our dedicated film section...

i'm sure someone will be along with a whole bunch of information real soon now it's in the correct section - the film crew don't get around much other than in their own section

 

[RaglanSurf]

…the film crew don't get around much other than in their own section

This is because we become confused and get lost

Welcome Reney, a very quick answer to your question, no.

 

[TheBigYin]

Can you develop colour in a dark room that uses a red light bulb?

And, a slightly longer answer...

Colour Process requires complete blackout conditions. To expand - C41 and E6 film can be processed in daylight conditions, you just need to load the film into the processing tank in a dark-bag (or darkroom) - the rest of the chemistry bit is performed in daylight thankfully. HOWEVER, when it comes to printing the imagery, and developing/fixing the prints, that's something that needs to be done in the dark. Again, there are machines that can be used to dev/fix in daylight, however the "critical" part is exposing the sensitised paper to light , and once exposed, losing it into the daylight processing tank - and thats something that's going to need to be done in the dark.

Honestly, I'd strongly suggest sticking to B&W for developing and printing until you've mastered the whole process and are fully used to working with B&W in a darkroom situation (under safelight conditions - the "red light" you're thinking of) - there's such a lot to get your head around, that frankly, adding in the complications of colour processing, the higher temperatures (and tighter regulation thereof) and the additional stages therein, along with working in complete blackout for the critical bits is a recipe for if not disaster, then at least financial ruin before you get your first acceptable image...

 

[Harlequin565]

When I did photography at A level, it was all B&W. If you're expecting a few students per term, I would echo Mark in saying B&W is the way to go. With a class of students, "easy" and "simple" are very important. I can't imagine the chaos (and additional cost) of trying to do colour. Also, if you're thinking of doing printing, B&W printing is much more common.

If you're doing this alone it's going to be a fair bit of work. The college I was at had a darkroom technician to prep for lessons (pre-mixed developer, stop & fix), clear up afterwards (students & chemicals) and help monitor the... less sensible... folks.

 

[sirch]

The other issue with colour development is that it is much more sensitive to temperature than B&W, colour negative developer needs to held at 38 degrees quite accurately and because this is significantly higher than room temperature it needs some sort of heating. B&W is usually done at 20 degrees which is normal room temp and the temperature is less critical anyway so other than getting tap water up to 20 degrees no heating is required.

 

[Dave Canon]

Don't be put off having a go at colour. I started Colour printing from negatives in 1979 which was quite early for amateurs but driven by the readily available chemicals and other equipment needed. I used a processing tank which was rotated in a trough of water heated to 40 degrees C. This temperature had to be maintained to +/- half a degree. Eventually the manufacturer produced chemicals which worked at room temperature but I continued to work at 40 degrees and I had solved the temperature stability and the chemicals were optimised to 40. I presume the chemicals and tanks are still available but sold my kit to a photography student about 15 years ago. However, I would advise mastering B&W first.

Dave

 

[VirtualAdept]

Don't be put off having a go at colour. I started Colour printing from negatives in 1979 which was quite early for amateurs but driven by the readily available chemicals and other equipment needed. I used a processing tank which was rotated in a trough of water heated to 40 degrees C. This temperature had to be maintained to +/- half a degree. Eventually the manufacturer produced chemicals which worked at room temperature but I continued to work at 40 degrees and I had solved the temperature stability and the chemicals were optimised to 40. I presume the chemicals and tanks are still available but sold my kit to a photography student about 15 years ago. However, I would advise mastering B&W first.

Dave

I was gonna say, I do think concentrating on black and white to start with is a good idea until you've got it nailed, but as you say, colour isn't nearly so difficult as I thought it was.
In terms of keeping the temps right, I warm everything in one of those cooler boxes, using a water bath to get it all right, and aside from a couple of minor snafu's down to my own silliness, its been a highly successful way to do it.

 

[NickT]

Just one point regarding a red safe light: You can print on B&W paper using an enlarger under a red light. That's the way it was 40 something years ago and I don't think the science will have changed since then.