Though it seems as if the world of photography is constantly changing, in fact, very little of the basic process is different from the one invented by Henry Fox Talbot in the nineteenth century. This is especially true for darkrooms. (See the illustrations, on the next few pages, of the darkroom of the 1880s—look familiar?) Yes, there are different kinds of materials and new, fancier equipment used in making images, but mostly things have remained the same—negative, paper, three chemicals. However, there is now the beginning of a revolution in photography—the digital photographic revolution. Even though this revolution has not impacted most amateur photographers it will not be long before its effects will be felt by all of us. In recognition of this, and in an effort to keep up with some of the new types of materials—especially the Kodak RA color system—and to eliminate some outdated equipment, the authors have decided to issue an updated version of this book. To address heightened concerns about the environment, the new version also contains a section on the environmental impact of the darkroom.
A positive side effect of the digital revolution in general has been the ability for people all around the world to communicate quickly and inexpensively through the Internet. Images, as well as ideas, can now be swapped across continents without the need for packaging, mailing, or even leaving your home. In an effort to take advantage of these new possibilities, we’ve replaced the chapter on “Darkrooms of the Professionals” with “Darkrooms Around the World.” Many of the images in this section were transmitted to the authors from across the planet via the Internet. They were then converted to B/W and enhanced using Adobe Photoshop (See Chapter 11, “The Digital Darkroom”) where necessary.
As with previous editions, this book is still for those who wish to resist the temptation to let the camera and the photofinisher do all the work in making photographs. It is for those who want to experience the full range of the photographic process.
The professional, the advanced amateur, or the merely curious realize that the only way to make a photograph look the way they want it to look is by making it themselves. Negatives or slides are only the starting point in producing an image that conveys a desired feeling or idea. The machine processing available from commercial sources, while sometimes remarkably good, is always set to a mechanical standard. Custom processing, even if you could convey exactly what you want the print to look like, is generally too expensive. The best solution is to build your own darkroom, ensuring that, with some practice, the print you obtain is the one you want.
Building a darkroom can be an intimidating thought. The information on how to do it well is scattered throughout photographic literature. The vast majority of this information has traditionally been transmitted verbally from one photographer to another. The Darkroom Handbook was the first serious attempt to gather together in one source the ideas and techniques that have been developed over the years by trial and error. It was the result of the efforts of many photographers who have overcome the difficulties of locating a darkroom in a bathroom, kitchen, bedroom, or basement of a house or apartment. Almost any problem you might encounter in building a darkroom has been encountered by others and successful solutions have been devised. This book is a compilation of those successful solutions from which you can benefit.
Those interested in building a darkroom are confronted with many problems, such as: where it should be located; installing partitions, plumbing, and electricity; and choosing appropriate darkroom equipment. This book is a comprehensive treatment of darkroom design, construction, and equipment. It is the end result of the trials and tribulations of many people who discovered solutions after long hours and many mistakes, and who have also been willing to share this information freely with others. New products have been included and products no longer available have been dropped. The primary criterion for a product’s inclusion rests with its proven acceptance and reliability. It would not be possible to include all of the products that are available today, but you can be assured that those featured here are produced by reputable manufacturers. The introduction of Kodak’s RA color-processing system has further simplified and improved the technique of color printing and is treated herein for that reason.
A new section has been added to cover some of the possibilities allowed by the greatest change to photographic processing that has occurred since the last edition of this book—the ability to digitize a photograph and manipulate it with a desktop computer. It is no longer necessary to have the resources of a major film studio or printing company to be able to afford a machine that will allow you to have a new and almost unlimited type of control over an image. This change brings with it new equipment requirements for processing images. Inputting images into a computer and outputting them (the counterpart to traditional printing) are handled by equipment that works without the necessity of a dark space. There are no real chemicals, but now we must deal with inks. What will the new “darkroom” be called? Only time and the imagination of its users will tell.