Darkroom Designs

[gth]

Is there a book with Darkroom Designs that you know of?

Ok, a lot of books have examples of darkroom layouts, but is there one that gives specific dimensioned designs/floor plans?

Where optimized designs for different sizes and ambition levels are discussed?

I am sure there is PLENTY of darkroom design experience here!

Obviously any layout is highly dependant on size and $$ available, but for starters it would be interesting to hear more anecdotal information, like stupid things NOT to do, where to put storage, electrical outlets and how to design for an orderly development and print flow through the darkroom.

I have a pretty good idea how it should look, but often it's small practical details that makes the difference between a good work place and a great workplace.

For starters, what would be the minimum square ft you would recommend for a "nice" darkroom for development of film 35mm through 8x10 and printing to 20x24. Enlargers for 35mm through 5x7 with contact printing of 8x10 negs.

B/W only at this point. Standard silver process only.

[Leigh]

The only ?universal? rule I know of is to keep the wet side and the dry side separate.

The first choice you need to make is your maximum print size.
That will dictate the size of your sink, which is by far the largest item in the darkroom.

Beyond that you scale the cabinetry, enlarger location, etc., to fit the space available.

I use a straight linear layout:
http://www.atwaterkent.info/Images/Darkroom300w.jpg

I've seen several books on darkroom layout, and likely others exist.
A search for darkroom in Books at www.amazon.com gets 1252 hits.


...is there one that gives specific dimensioned designs/floor plans?...
Every darkroom is different.
Nobody's going to spoon-feed you. You need to do some work on your own.

- Leigh

[Tin Can]

I'm looking at the same sort of thing. I think room size obviously comes first. Mine is 12 x 16' and not close to done. I am stuck at permanently covering one wall of windows. I can't use a ladder right now. The windows are 12' tall. I have 2 sinks 120 X 30" and 72 X 24" that basically use up 2 walls. Another wall is enlargers. I need to get rid of a few enlargers to give me more dry space. I am thinking of a big table on wheels in the center and boards to cover sinks when 2 sinks are not needed. I put in exhaust ventilation, that will pull off the top of the sinks. I had to petition the condo board to do that.

I really have to get the windows covered first...

[jose angel]

Right now I have two darkrooms, one at home, the big one at work. I have "built" up to five darkrooms, I think.
Personally, I`d differentiate two rooms; one for the dark-room (strictly speaking, sink, enlargers), another for drying, retouching, matting, mounting... if everything should be installed in one only room, think that the dry press, working table, drying cabinets, etc. take its own space.
For a single room layout, the "straight linear" rectangular design is what works best for me. Neither too big or too small. My current darkroom (at work) is a bit on the big side, with a bit more squared shape; I prefer my smaller at home, more longitudinal, more comfortable, less tiring. Obviously, it`ll depend on the space you have to do this... do you already have a room, or you have to build it up?
BTW, I`m now in the process of replacing the sinks, two stainlees steel ones (main is 6 feet long), not designed for photography work, quite uncomfortable. I`d like to have a much bigger one, deeper, wider.

[cosmicexplosion]

I'm in the process of building one in a standard shipping container
Well standard size wise.
It's flat aluminium as opposed to corrugated steel. Which is nice.

Six by four Meters. by 2.4 high
13 x 19 feet aprox

I had dreams of putting 8x10 horizontal enlarger in there but might be dreaming.

Any way
I will prob be best putting wet side and dry side.






.

[gth]

The only ?universal? rule I know of is to keep the wet side and the dry side separate.

The first choice you need to make is your maximum print size.
That will dictate the size of your sink, which is by far the largest item in the darkroom.

Beyond that you scale the cabinetry, enlarger location, etc., to fit the space available.

I use a straight linear layout:
http://www.atwaterkent.info/Images/Darkroom300w.jpg

I've seen several books on darkroom layout, and likely others exist.
A search for darkroom in Books at www.amazon.com gets 1252 hits.


Every darkroom is different.
Nobody's going to spoon-feed you. You need to do some work on your own.

- Leigh

Indeed!

Lot's of books some actually specific to designing and building darkrooms.

The last(?) 1963 Kodak "Darkroom Design and Construction" there is 1 used copy for $96!

A newer ones are "Build your own home darkroom" and "The New Darkroom Handbook" which is even available in Kindle.

Kodak Black-And-White Darkroom Dataguide (last 1996?) is probably more about working techniques.

/gth

[RW Hawkins]

I've just been editing my page about my darkroom ( http://blog.rwhawkins.com/darkroom_portrait/ ) Like many things in life what works for me may not work for you, but it might give you some ideas.

[Tin Can]

Very good advice! Kee Klamps are a great idea. I am already changing my darkroom setup and design.

Thanks for a great Blog!



I've just been editing my page about my darkroom ( http://blog.rwhawkins.com/darkroom_portrait/ ) Like many things in life what works for me may not work for you, but it might give you some ideas.

[RW Hawkins]

I'm looking at the same sort of thing. I think room size obviously comes first. Mine is 12 x 16' and not close to done. I am stuck at permanently covering one wall of windows. I can't use a ladder right now. The windows are 12' tall. I have 2 sinks 120 X 30" and 72 X 24" that basically use up 2 walls. Another wall is enlargers. I need to get rid of a few enlargers to give me more dry space. I am thinking of a big table on wheels in the center and boards to cover sinks when 2 sinks are not needed. I put in exhaust ventilation, that will pull off the top of the sinks. I had to petition the condo board to do that.

I really have to get the windows covered first...

Randy, I didn't mention in my blog that 3 sides of my darkroom are 13 foot tall windows. I think I went through 3 rolls of 6 mil black plastic from Home Depot! I used gaffers tape plus expandable curtain rods to solve that issue.

[Tin Can]

I have all materials on hand. I either need to get a little stronger and have better balance or find some helpers. I wore my neighbors out bringing in some rather big sinks and enlargers. My usual helpers are busy with their upcoming movie and music fest. I will be their staff shooter.

http://cimmfest.org/

This will happen.



Randy, I didn't mention in my blog that 3 sides of my darkroom are 13 foot tall windows. I think I went through 3 rolls of 6 mil black plastic from Home Depot! I used gaffers tape plus expandable curtain rods to solve that issue.

[ic-racer]

http://www3.telus.net/drkrm/pdf/kodak_design.pdf
http://www.ebook.downappz.com/?page=book&id=11948
http://www.columbia.edu/itc/hs/dental/sophs/material/darkroom.pdf
http://webcache.googleusercontent.com/search?q=cache:8amA471t3F4J:www.kiberpipa.org/~igzebedze/documentation/photo/Darkroom1/www3.telus.net/drkrm/construc.htm+darkroom+design+pdf&hl=en&client=safari&gl=us&strip=1

[gth]

My 4 trays for 14x17 (internal bottom 16x20.5) butted up agains each other lengthwise is 75 in.

Figuring a 20x24 tray is proportionally wide 4 trays would take up 94 inch so very tight for a 96 in sink. I don't have any trays for 20x24 so I'd like to know if I can get those trays into a 96 inch sink. BTW, what is a recommended depth of the sink. I mean vertically not out from the wall.

[gth]

I saw a YouTube video a while ago.... it was from a french darkroom I think... the girl working it had a vertical "polished" sheet metal at the end (after washing) that she slapped the print on and squeeged the print on. As I remember..... ??

I guess you need a second sink for washer etc. - assuming you keep the tray sink to 96in.

[David Rheubottom]

A number of issues of Lenswork Extended contain video clips showing the personal darkrooms of a number of famous b&w photographers -- with discussions about working habits, layout, useful tips, etc. They are well-worth watching (closely!) several times. You learn to build your perfect darkroom by building several less-than-perfect ones. As someone has observed: Education is expensive! Cheers, Dave

[gth]

There is a surprising amount of books in print on how to build a darkroom. Then you have YouTube videos and of course forums like this. It's a great time to indulge in an old art.
Not to speak of purchasing darkroom equipment for practically nothing. I now have equipment for outfitting a large darkroom with multiple enlargers. Even a sink available locally if I can find the space for it. And a LOT of (expired) papers.

Good times!

But nothing beats actually personal experiences and advice.

That's what I am looking for here. Thanks to everybody that have contributed so far.

[AF-ULF]

A couple of things I have learned as I expanded/changed my darkroom over the years:

1. Chances are you will change your darkroom. If you put in permanent cabinets, you may have to tear them out later. I use shelves and drawer units that can be taken apart and moved.

2. You don't have to have everything up against a wall. My darkroom is 14'x14'. I found I could get much more storage and work space by putting a long sink on the wall and a short sink at a 90 degree angle. It cuts the room in half and I have a storage shelf behind it. My work are is U shaped, even though the room is square.

3. Don't make the darkroom too efficient. When making my latest darkroom, I moved the enlarger a few steps farther away from the sink than it had to be, I put my paper safe a step away from the enlarger, I have to reach to adjust the timer. Stretching, reaching, walking, it makes a big difference in how I feel after a long printing sessions.

[Kodachrome25]

I comfortably print up to 20x24 gallery grade prints in my 5x6 foot darkroom, did a big show this week in a space houses a large film freezer not to mention snowboards, mountaineering gear, etc.

The key is to think out of the box and be innovative. For example, all my spendy 4 blade easels are in storage as I have turned the baseboard on my 45MXII into a magnetic easel using 1" strips of plexiglass cut to several different sizes for different papers. I use either 11x14 or 16x20 trays on slide out shelves in a stacked array, developer on top under a dimming Nova 5 Star LED safelight system with 4 heads, two over the tray. For 20x24 I use a Jobo 3063 and it works great.

All my dodging tools are homemade. I cut three different lengths of coat hangers, painted them flat black and put small pieces of Velcro on the ends to accommodate a wide variety of shapes and sizes including custom ones that live in the file of print editions as a "kit". Burning tools are similar in that there is a rotating cutout with various sizes for all kinds of custom inserts. All this stuff is highly modular so it will require no custom work to the space it goes in next.

I look forward to the day I can have 400-600 square feet to have 4-5 stations and teach workshops, but for now, my hi tech closet works amazingly well.

[C. D. Keth]

There's an ongoing thread at APUG with photos of various members' darkrooms. There are literally thousands of photos there with tons of ideas.

[gth]

I found that french video I mentioned in a previous post.

What do you think of her darkroom?

1. She seems to have surfaces above the sink (vertical) in a lot of places, where she can plaster the print on and squeege the water out or doing selective "wash" ?
What i she doing there with the water hose and a brush?

3. Does she have a water filled box with two lids, one in the darkroom and one in the fully lit room? I can't tell for sure what she is doing there.

Neat video!

http://youtu.be/qz2dC5MXjSY

/gth

[Tin Can]

Really a very well done video, showing the romantic aspects of solid darkroom technique. The French do know how to live!

I have already sent this video to many and put it on my FB page.

Show this to students the first day, first thing.



I found that french video I mentioned in a previous post.

What do you think of her darkroom?

1. She seems to have surfaces above the sink (vertical) in a lot of places, where she can plaster the print on and squeege the water out or doing selective "wash" ?
What i she doing there with the water hose and a brush?

3. Does she have a water filled box with two lids, one in the darkroom and one in the fully lit room? I can't tell for sure what she is doing there.

Neat video!

http://youtu.be/qz2dC5MXjSY

/gth

[gth]

What kind of negative carrier is she using for that 35 mm film?
Seems fancy.
For what enlarger?

She has a lot of space for the wet area.

[Roger Thoms]

My guess would be a Durst Labrador 1200.

Roger

[ROL]

I found that french video I mentioned in a previous post.

What do you think of her darkroom?

Who cares? The important thing is that it held my interest for one very compelling reason – A hot French woman in an apron is confidently working analog under red light. (FWIW, I'm going to have to get red lights for my lab for my next video, since no one thinks of amber as a proper darkroom atmosphere. Come to think of it, I will also have to have a hot French woman)


1. She seems to have surfaces above the sink (vertical) in a lot of places, where she can plaster the print on and squeege the water out or doing selective "wash" ?

I inspect and hose off prints on a wall on one side of my sink (the surface tension of the water holds them to the wall), however due to the lack of robustness in new papers, I have ceased using a squeegee on the emulsion side.


http://www.rangeoflightphotography.com/SupportPics/DarkroomPix/WashSink.jpg


What i she doing there with the water hose and a brush?

Applying toner selectively to improve highlights? Anyone care to translate the French narration?


3. Does she have a water filled box with two lids, one in the darkroom and one in the fully lit room? I can't tell for sure what she is doing there.

It's not a how–to on darkroom design. This appears to be a lengthy, if well done, commercial advertisement for her darkroom services. Perhaps, as previously suggested, you should look elsewhere for information from those who have actually offered their views for those just starting out with darkroom technique.

A Darkroom Portrait (http://www.rangeoflightphotography.com/pages/a-darkroom-portrait)


2. Why don't you ask her directly in the comments section below the video. People do that with my videos all the time (but then, I actually respond to them :rolleyes:).

4. Doremus will be happy with the double fix(ation). :p

[ROL]

She has a lot of space for the wet area.

IMO, the number one criteria in darkroom design should be the "wet area". As I have pointed out on many occasions, my DR was built entirely around the sink. You got lots of questions, man.

[gth]

Who cares? The important thing is that it held my interest for one very compelling reason – A hot French woman in an apron is confidently working analog under red light. (FWIW, I'm going to have to get red lights for my lab for my next video, since no one thinks of amber as a proper darkroom atmosphere. Come to think of it, I will also have to have a hot French woman)





I inspect and hose off prints on a wall on one side of my sink (the surface tension of the water holds them to the wall), however due to the lack of robustness in new papers, I have ceased using a squeegee on the emulsion side.


http://www.rangeoflightphotography.com/SupportPics/DarkroomPix/WashSink.jpg


Applying toner selectively to improve highlights? Anyone care to translate the French narration?



It's not a how–to on darkroom design. This appears to be a lengthy, if well done, commercial advertisement for her darkroom services. Perhaps, as previously suggested, you should look elsewhere for information from those who have actually offered their views for those just starting out with darkroom technique.

A Darkroom Portrait (http://www.rangeoflightphotography.com/pages/a-darkroom-portrait)


2. Why don't you ask her directly in the comments section below the video. People do that with my videos all the time (but then, I actually respond to them :rolleyes:).

4. Doremus will be happy with the double fix(ation). :p

Thanks ROL, some good ideas... I CARE!! Actually from where I am coming from this video gave a lot of insights into the work flow in a dark room and how it could be designed. Yeah, by now I got the books and the drawings but this add another dimension, and I haven't even gotten to the french hotness yet...

Sooo, yes, I have a lot of questions and anyone care to comment on what she does, her technique and dark room, that is appreciated, her video is a great context to discuss that I think.

Not to speak of the romance of the analog world, perfectly shown by this woman that moves so languidly yet decisively through her dark room, creating prints out of light, paper and water. What a contrast to being hunched over a keyboard listening to the hum of an inkjet.

[Tin Can]

Yes, the difference between computer and darkroom is the romantic difference. Right now I am exposing a 12 minute f64 image on 5x7 Ilford FB DPP and web surfing. What could be better?

7 minutes to go and then dunk. I am shooting one at a time of junk in my loft. And developing each one as I go.

I am in no hurry. anymore...

[gth]

IMO, the number one criteria in darkroom design should be the "wet area". As I have pointed out on many occasions, my DR was built entirely around the sink. You got lots of questions, man.

Hey ROL,

I had not clicked in to your website before - just did.... NICE!! As in NICE and also nicely presented. I will let all of your info "sink" in for sure.
Great work!!! Thanks!

[gth]

This is ROL's link to his website. Check it out!

http://www.rangeoflightphotography.com/pages/a-darkroom-portrait

[ac12]

Are you right-handed or left-handed? I would plan the workflow around that. I'm right-handed and prefer to work on the wet side from left to right.
Will this be a one-man darkroom or will others be in the darkroom at the same time? Need to plan how people will work and not get in each others way.
How many enlargers do you have, and what film format? If you only have 1 enlarger, you should probably plan for a 2nd enlarger.

20x24 is a huge piece of paper.

[ROL]

gth, in my own inimitable irreverent way, I was suggesting that your aim seemed a little high (no judgement regarding French hotness implied) in seeking out darkroom design from a very slickly produced commercial venture, while there is plenty of direct help from seasoned darkroom workers of all kinds (not likely "hot", though possibly French) right here on LFPF. Thanks for the support.

[Sal Santamaura]

...What i she doing there with the water hose and a brush?...A brush and, later, a cotton swab. She's applying potassium ferricyanide bleach, which lightens the print and is very fast acting. If not washed away quickly, it will take the area (and everything beneath where it runs down) to blank white, so is typically used by repeatedly making small corrections until the desired tone results.

Potassium ferricyanide bleach is sometimes referred to as "zone system in a bottle." ;)

[gth]

Are you right-handed or left-handed? I would plan the workflow around that. I'm right-handed and prefer to work on the wet side from left to right.
Will this be a one-man darkroom or will others be in the darkroom at the same time? Need to plan how people will work and not get in each others way.
How many enlargers do you have, and what film format? If you only have 1 enlarger, you should probably plan for a 2nd enlarger.

20x24 is a huge piece of paper.

Right handed so work flow from left to right for sure. And it will be just me and the hot french chick. :cool:

Far as enlargers I am embarrassed to say I have 5...... don't ask.... obviously there WILL have to be some "culling".

Formats: 135, 6x7/120, 4x5LF, 5x7 LF, 8x10 contact print only.

[Tin Can]

LOL, I wonder how many enlargers some of us have! I have 12, but I am a hoarder...

[gth]

gth, in my own inimitable irreverent way, I was suggesting that your aim seemed a little high (no judgement regarding French hotness implied) in seeking out darkroom design from a very slickly produced commercial venture, while there is plenty of direct help from seasoned darkroom workers of all kinds (not likely "hot", though possibly French) right here on LFPF. Thanks for the support.

Yeah, I got what you meant, no problem. And sure, I see the video for what it is.... it's slick, but it conveys brilliantly the physicality, work flow and motion of dark room work..... which is what I am after. But I realize that reality is a lot of sloshing of liquids, cleaning up mess and making mistakes without an UNDO button.

Great fun!

[Erik Larsen]

Sal, I never heard that term zone system in s bottle but it works I guess:) I've seen pot ferri described as "liquid sunshine" also.

[paulr]

I had an early version of this book (http://www.amazon.com/New-Darkroom-Handbook-Dennis-Curtin/dp/0240802608) and found it helpful. It includes pictures and diagrams of the darkrooms of a lot of well known photographers. It's fun to see so many different approaches.

I learned two important lessons about darkrooms over the years.

First, you don't need a lot. I got paralyzed by my beautifully equipped college darkroom. It led me to believe you needed all of the shiny equipment I couldn't afford. It wasn't until years later, when I helped a friend install a darkroom at a high school with practically no budget, that I realized all you need is a room and a work surface. Everything else is just for expediency. That experience convinced me to make my own darkroom. They got nicer over the years, but I never even got around to putting in running water. My money went into things like enlarger modification and the best optics. You can fetch water in a bucket.

Second, there may be differences between the design that's most efficient from a production standpoint, and one that's most inviting to work and play in. Since the darkroom was a creative space for me, where I spent a lot of time working on relatively few prints, I put more attention into liveability than efficiency. I always had rooms with a lot of floor space, breathing room, ease of moving in and out, and good music.

I never thought of it in Af-ULF's terms, of encouraging walking and stretching, but those are also good arguments for inefficiency. Jobs where you stand in one spot for hours (cashier, line cook) are not so healthy.

[Jim Jones]

A basic darkroom can be small when there is little room. I learned B&W printing in a darkroom 4x6 feet. One of the eight darkrooms improvised or constructed for myself was even smaller. Knowledge of the basic requirements of printing lets one adapt to the available space. In all but one instance, the layout was dictated by the size and proportions of the available floor space. That one had such a low ceiling that the 5x7 Elwood enlarger had to sit on the floor. Ouch! Half of them had no running water, which is not a great disadvantage; one can import water in gallon milk jugs and carry it out in buckets. Storing water in the darkroom with the chemicals provides consistent temperature for developing film.

Trays can be stacked vertically as Kodachrome 25 says in post #17. This can be improvised, or perhaps a Richardson Tray-Rak set will show up on ebay. For low volume printing, one can even get by with two trays, a curved bottom rocking tray like those once sold by Honeywell and Heathkit, and a conventional tray for the holding water. With a 11x14 curved bottom tray 2 ounces of developer suffice, and can be dumped after each print. Stop and fix can be recycled.

Don't skimp on electrical outlets. I've had maybe a dozen items plugged into my darkroom at one time. A ground fault circuit interrupter should protect the outlets, especially on the wet side. It may be required if electrical codes are enforced.

[Sal Santamaura]

I found that french video I mentioned in a previous post....Neat video!

http://youtu.be/qz2dC5MXjSY


...This appears to be a lengthy, if well done, commercial advertisement for her darkroom services...Traveling a little further down this tangent, her darkroom service business is interesting:


http://www.atelierfenetresurcour.com/prestation-eng.html

No film developing, just fiber-based printing. The film was made 10 years ago and the Web site's copyright is five years old. However, the film was just put on YouTube two months ago, so she's probably still in business. I wonder how many people walk in with black and white negatives seeking fairly expensive fiber prints in 2013? Advertising may be more necessary now. :)


...Doremus will be happy with the double fix(ation)... But he might be concerned that she then leaves them in contact with each other laying in the wash tray (for at least an hour, according to the Web site) while trimming potted plants in the courtyard. Customers probably ought to require a residual hypo test. :)

One other technique evident in the film is sponging developer directly onto faces in the image of four children to increase density there, as well as breathing on small areas of the same print after lifting it from the developer, apparently to increase temperature for the same reason. It seems the burning done on those areas wasn't sufficient. :D

[gth]

Did you see her price list...


PRICE LIST

Traditionnal baryt prints : book, archives, édition...
Size first print next print (same picture)
13x18 10 € 6 €
18x24 18 € 12 €
24x30 28 € 20 €
30x40 38 € 30 €
Tirages de lecture 10x15 sur papier rc : 2 € l'unité


28 Euro for a 24x30 print that is about $36....Hmmm, that print size is in cm? So it is a 9x12 inch print. For a hand made print..... she probably does not have much competition if that is what you want. If she can make 30 prints per week she can pull in $1,000 per week, which probably can pay her rent and small salary.

Hopefully she gets enough business to continue... she's been printing for 20 years (which shows in her motions) so if the chems have not gotten to her by now....

[Tin Can]

Gads! I forgot she would be metric. Prices seemed crazy low. I bet she actually makes more per print somehow than her listed prices or has a subsidy. Europe is far kinder to the Arts than the USA. She is no child at 45 years old. Good for her no matter how the bills get paid.

[bob carnie]

92286

I have been building darkrooms for a few years now , this is my current version.

25 ft square so you can see the sinks are pretty big, This T design is really beautiful as it allows multiple uses , easy access.
The red hoses are heavy duty and can run the length of each sink, I do murals so this design has proven to be kick ass.
I have two complete different sources of water so I do not lose pressure. this is really helpful when toning as I can wash at the same
time I am using the other water line to hose off the bleach as this is important for good toning.

I use a industrial shelving unit , basically floor to ceiling and I can climb up on it if I want to contain all my supplys and tools, graduates.


The jobo sits in one end of the sink and I have two vertical washers , one in each sink for those heavy days. The room is humidity and temp controlled for
critical alternative work.

The only change I would do is make it about 30% bigger and I would be in heaven.

[gth]

92286

I have been building darkrooms for a few years now , this is my current version.

25 ft square so you can see the sinks are pretty big, This T design is really beautiful as it allows multiple uses , easy access.
The red hoses are heavy duty and can run the length of each sink, I do murals so this design has proven to be kick ass.
I have two complete different sources of water so I do not lose pressure. this is really helpful when toning as I can wash at the same
time I am using the other water line to hose off the bleach as this is important for good toning.

I use a industrial shelving unit , basically floor to ceiling and I can climb up on it if I want to contain all my supplys and tools, graduates.


The jobo sits in one end of the sink and I have two vertical washers , one in each sink for those heavy days. The room is humidity and temp controlled for
critical alternative work.

The only change I would do is make it about 30% bigger and I would be in heaven.

Just the man I'd hoped would chime in here.....

Interesting design..

Can you elaborate more on your detailed workflow (or work flows) in this darkroom, from enlarger to washed print.

Do you have any pictures?

Great Info!!! Thanks.

[bob carnie]

What I like about this design is that access is around the whole system, I should point out I am cheating a bit as where the horizontal enlarger should be is not built yet, but in the plans.
I really like the water coming from above so that I can walk around at this point the bulk of the sink.
When you are able to walk around the whole setup then I think magic comes in.The water and drains are below the sink so you do not have to step over copper or drain

I use the longer sink for the bulk of development , always starting from the right and moving to the left. I have enough room in this sink to do 30 x40 in a long row to double fix. four trays comfortably.
so I expose and turn and process to the left, I have big Thompsans in the ceiling to light up the room and I always work on two enlargers at a time and if doing my personal work three or four enlargers . I shoot 8x10 and 4x5 equally on my solarization projects for this very reason.
I have a flashing unit above the developing areas , customized with current bulbs(I have enough for one million flashes).

After the second fix, In the smaller sink, I have a large tray running with water (separate water Line) so I can pre wash while I am working, beside the wash is my selenium tray and hypo clear. after hypo clear I can move back to the big sink where I have a 16 x20 washer going or just put the prints in the 20 x24 washer in the smaller sink. Small sink is 10 ft x 5 ft large sink is about 24 ft by 5ft.
Having two separate waterlines is IMHO the best improvement one could make to a darkroom.

I have monster screens made in my frame shop and they just get piled one on top of the other depending on how many prints I make.

I will post pics later .

Bob


Just the man I'd hoped would chime in here.....

Interesting design..

Can you elaborate more on your detailed workflow (or work flows) in this darkroom, from enlarger to washed print.

Do you have any pictures?

Great Info!!! Thanks.

[gth]

I ain't done yet!

Ok, so is this a stupid idea/question? Oh, we are also (temporarily) assuming "endless" resources.

What about having a separate small darkroom for developing film, NOT shared with the printing area?

- Chemistry is different
- Need for complete darkness possibly other safe light than in print area (for X-ray film for instance)
- Tank processing likely
- Tray's for 8x10 max if you are developing in trays
- Higher demand for dust free
- Other reasons?

I have not seen any darkroom layout like that so the answer might be obvious.
Still curious if there would be something to it.

[Tin Can]

My film room, is my large bathroom, less dust, and really dark.



I ain't done yet!

Ok, so is this a stupid idea/question? Oh, we are also (temporarily) assuming "endless" resources.

What about having a separate small darkroom for developing film, NOT shared with the printing area?

- Chemistry is different
- Need for complete darkness possibly other safe light than in print area (for X-ray film for instance)
- Tank processing likely
- Tray's for 8x10 max if you are developing in trays
- Higher demand for dust free
- Other reasons?

I have not seen any darkroom layout like that so the answer might be obvious.
Still curious if there would be something to it.

[bob carnie]

Yes a separate room for processing has been in my spaces for years, Or dark loading room if you are using Jobo which sits in your sink and can run in regular light.
If you are developing in trays of open tanks , dip and dunk then for sure a separate room is a blessing.
Humidity control is most important. also a side room for setup of negatives and pressing prints with high humidity is fantastic.


I ain't done yet!

Ok, so is this a stupid idea/question? Oh, we are also (temporarily) assuming "endless" resources.

What about having a separate small darkroom for developing film, NOT shared with the printing area?

- Chemistry is different
- Need for complete darkness possibly other safe light than in print area (for X-ray film for instance)
- Tank processing likely
- Tray's for 8x10 max if you are developing in trays
- Higher demand for dust free
- Other reasons?

I have not seen any darkroom layout like that so the answer might be obvious.
Still curious if there would be something to it.

[Gudmundur Ingolfsson]

Bob, please post us some informativ pictures of your "big" darkroom !

[bob carnie]

will do , I have an archive of images of one or two that I have built, it will take me some time but I will post them
Bob, please post us some informativ pictures of your "big" darkroom !

[Brian Ellis]

I've had four dedicated darkrooms. The largest was probably 12'x8' (but it also housed a washer and dryer), the smallest about 4'x4' (didn't have running water in that one). I used to think of small sizes as a disadvantage, now I think of them as an advantage. If you have a large room you tend to use all of it - which can lead to a lot of unnecessary walking back and forth from one spot to another. A small space limits the amount of walking you can do but it's still very feasible as long as you have enough space for the enlarger and sink (I wouldn't recommend no running water, I had to do it because I didn't have space for a sink). Those two things really dictate the darkroom design. You leave enough space for them and fit everything else in as best you can. Today if I still used a darkroom for anything except processing film I'd limit the size to a minimum and even if I had more space I wouldn't use it.

[bigdog]

A little late to the party, but here is a blog on the building of my latest and current (probably last, or next to last) darkroom:

http://newdr.blogspot.com/

On the "darkroom resources" page, there are links to darkroom design sites.


LOL, I wonder how many enlargers some of us have! I have 12, but I am a hoarder...

6

[gth]

A little late to the party, but here is a blog on the building of my latest and current (probably last, or next to last) darkroom:

http://newdr.blogspot.com/

On the "darkroom resources" page, there are links to darkroom design sites.



6

Nice setup BigDog...

Did you get your sinks from Delta?
I like the sturdy support for the first Beseler.... that's from mech shop bench?

Only thing, don't you get "cold feet" ...... ;)

[Ginette]

I ain't done yet!

Ok, so is this a stupid idea/question? Oh, we are also (temporarily) assuming "endless" resources.

What about having a separate small darkroom for developing film, NOT shared with the printing area?

- Chemistry is different
- Need for complete darkness possibly other safe light than in print area (for X-ray film for instance)
- Tank processing likely
- Tray's for 8x10 max if you are developing in trays
- Higher demand for dust free
- Other reasons?

I have not seen any darkroom layout like that so the answer might be obvious.
Still curious if there would be something to it.

Yes, separate darkrooms make sense for me. I open a new darkroom 14'x16' for the big enlargers I pickup in the last 2 years, Durst 184 and somes 138, and will use the oldest 7x12' darkroom for films. Both have sinks, films will be developped in Jobo CPP2 processor. I will load films there too.

This topic Lets See Your Darkroom http://www.largeformatphotography.info/forum/showthread.php?56044 will give you some ideas about how forum members set theirs darkrooms, more than 400 posts. Not designs with measurements but a lot of photos and bright ideas.
A similar topic can be found on APUG http://www.apug.org/forums/forum43/10966-darkroom-portraits.html