TOWARDS PRINT QUALITY

Good Darkroom Practice

CLIVE R. HAYNES FRPS

Why is it that some prints fairly ‘glow and sing’ whilst others look dull and grey and simply lack that essential sparkle? Often the answer lies in insufficient attention to detail. At each part of the photographic chain, from exposure to final presentation, small deviations or sloppy practice can erode that elusive print quality.

The following list is not definitive but it does give an idea about how attention to detail can boost print quality. Proper attention to each point will degree by degree, lift a print from the greyness of mediocrity and give it every chance to sing. Will you join the choir? Or perhaps become a soloist?

NEGATIVE DEVELOPMENT

• Correct choice of film for the subject.
• Accurate initial exposure in camera.
• Rewind carefully.
• Accuracy in Developing.
• Correct choice of developer for film and correct/proven best development method.
• Follow manufacturer’s instructions or with experience, your own method. Whichever you choose, be consistent.
• Ensure the temperature is correct and keep it stable.
• Use a stop bath.
• Fix as per manufacturer’s instructions.
• Do not use exhausted fixer.
• Use wetting agent after washing for correct time.
• Dry in dust-free environment.
• Store negatives carefully.
• Keep all developing utensils clean and always wash after use.

PRINTING

• Correct choice of paper type, i.e. resin coated or fibre based.
• Finish of paper: glossy, lustre, matt, etc. Tone of paper base: warm, neutral, cold.
• In general, the more ‘silver-rich’ the better, giving denser, richer blacks.
• Correct grade of paper of filter grade.
• Choice of developer to influence ‘emotion’ and print tone.
• Do not over-use developer. Discard before exhausted.
• Keep developer temperature accurate and stable.
• Keep the developer free of contaminants – in particular other chemicals (stop bath and fixer) nearby in the area.
• Use a black card beneath the print (same size as print or larger). This will reduce reflections from white baseboard or easel/printing frame that could diffuse through the paper layer and de-saturate your print.
• Ensure that undersides of shading cards, "dodgers" and "burners" are grey or black to reduce bounced light and consequent ‘fogging’.
• Aim for medium exposure, time say 15 to 40 seconds to allow sufficient time for shading, dodging, etc..
• Always make a test strip and take time to assess it.
• Keep hands and fingers clean and dry.
• Take care of multigrade filters – avoid scratches, marks and damp fingers.
• Focus accurately – use a focussing aid.
• Do not over-use the fixing bath - discard when exhausted.
• Indicator sticks are useful to estimate silver content and Ph level.
• Wash for specified time. Do not over-wash resin coated papers.
• Use a hypo eliminator/wash-aid.

GENERAL GOOD PRACTICE

The enlarger.

• Keep it clean and electrically safe.
• Check the alignment.
• The fitted safelight – is it really safe?
• Guard against light leakage.
• Check glass surfaces for condensation.
• Ensure that the enlarger lens is of good quality.
• Check that the enlarger lens is clean.
• Use a lens cap on the enlarger lens between sessions.
• Check the bulb for discolouration.
• Check that the system is giving even illumination over the baseboard area.
• Ensure that the enlarger is mechanically stable and that it doesn’t wobble or vibrate. If you work on a wooden floor, avoid moving about during the exposure time.

The environment.

• Must be light-tight.
• Must be well ventilated.
• Avoid/minimise extremes of temperature to reduce ‘ageing’ of materials and papers etc.
• Safelights must be safe – carry out a test.
• Safelights must be of the correct ‘safe colour’.
• Safelights must not be too close to papers/enlarger/developing area. Minimum safelight-to-paper-distance four feet.
• Reduce/eliminate reflections around the enlarger to avoid white light bouncing up from the print area and reflecting back down to the print. Make black the ceiling area immediately above the enlarger and sections of the side walls adjacent to the baseboard.
• Assess the test strip, working print and final print under the same, even tungsten lighting source. An ideal viewing source is two 60 watt pearl tungsten lamps (no shades and no reflectors) set about four feet apart and about four feet from the print.
• Always make assessments after ‘dry-down’ or at very least after the surplus water has been removed.
• Avoid the use of fluorescent lights in the darkroom as they continue to glow gently for a while after switch-off. This can ‘fog’ paper.