Printing in the Darkroom:
Ch. 7
Physical Characteristics of Paper
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Texture: The surface pattern of a paper. Ranges from smooth to slightly rough. Some
finishes resemble canvas, silk, or other materials. Smoother surfaces reveal finer details
in the image and any graininess of the negative more than rougher surfaces do.
Gloss: The surface sheen of paper, Ranges from glossy (greatest shine) to luster
(medium shine) to matte (dull). The dark areas of glossy papers appear blacker than
matte papers. Very high gloss can cause distracting reflections.
Paper base tint: The color of paper, pure white and off white tints available (cream, buff,
or ivory)
Image tone: The color of the silver deposit in the finished print. Ranges from Warm
(brownish-black) to cool (blueish-black)
Weight: The thickness of the paper
Size 8x10 inches is common
Resin coating: A water-resistant,plastic-like coating. Absorb little moisture, dry flat. Too
much heating during drying can damage surface.
Paper
• Paper is light sensitive
• Orthochromatic:emulsion that is sensitive to only blue and green light,
and thus can be processed with a red safelight.
• Vary in texture, color, contrast…etc
• We will use VARIABLE CONTRAST, RESIN COATED (VC/RC)
paper: you change contrast by changing the color of the enlarger light
through the use of filters.
• You may check out filters to use in class.
• Our paper has a GRADE of 2 so any number higher than 2 will create
more contrast (more blacks and whites, less grays), and anything less
will create more grays. Filters range from 0 to 5+
Paper Texture
• Many photographers prefer a glossy surface, smooth
textured paper because it has the greatest tonal range and
brilliance.
• Prints are seen by reflected light, and a matte texture or
rough surface scatters light so it decreases the tonal range
between the blackest blacks and the whitest highlights
• Resin Coated/RC paper requires less washing time than
fiber based papers. Fiber based papers have more tonality,
surface quality, and archival properties yet they are more
difficult to work with as they tend to warp. They are also
more expensive than RC papers.
Paper Storage
• DO NOT OPEN YOUR
PAPER OUTSIDE OF THE
DARKROOM
• KEEP PAPER INSIDE
YOUR SAFE BOX
UNLESS YOU ARE
PRINTING
• Most papers last about 2
years without fogging
The Darkroom: Dry side
• Photographic Paper is
used to make a print
• Dust and fingerprints
are a common
problem of the dry
side
• Enlarger and cutting
equiptment
The Darkroom: The Wet Side
• Contamination of
chemicals causes spots,
stains, and weakened
chemicals
• DON’T allow chemicals
to dribble onto the floor,
clothing, or surrounding
counter tops
• Always allow chemicals
to drip off over the
appropriate tray before
transferring your print to
the next tray
Equipment and Supplies
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Enlarger
Printing Paper
Easel (printing and glass for contact sheets)
Focusing magnifier
Safelight: A relativly dim amber safe-light allows you to see what you are doing, but not
so much that the paper becomes fogged with spots
Paper cutter
Timer
Trays
Tongs
Squeegee
Drying Racks
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You MUST be able to locate all of the above in the darkroom
Chemicals
• Developer: DEKTOL produces a neutral or blueblack tone when used with the correct paper.
Converts the crystals in the paper’s emulsion into
visible metallic silver
• Stop bath: acidic acid halts the action of the
developer
• Fixer: removes unwanted silver halides from the
emulsion
• Wash: running H2O removes all chemicals but can
warp paper if left too long
The Enlarger
Lamp
Condenser
Filters
Base
Supporting Column
Timer
Test Strip
Contact Sheet
Making a contact sheet
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Prepare the enlarger
Identify the emulsion side of the film
Identify the emulsion side of the paper
Place negatives and test strip under glass
Expose the test strip
Process the test strip
Evaluate a correct time
Create a new test strip if necessary
Create contact print