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#1
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Does it matter what colour I paint my darkroom?
Seriously. Any thoughts on this. So far it's different shades of gray. I
know Ctein drapes his in black plastic claiming it sucks up the dust. Thx. |
#2
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Does it matter what colour I paint my darkroom?
In article wDw3c.9670$Up2.7652@pd7tw1no, "SofaKing"
wrote: Seriously. Any thoughts on this. So far it's different shades of gray. I know Ctein drapes his in black plastic claiming it sucks up the dust. Thx. So drape your darkroom with white plastic in the wet area, and black in the dry. |
#3
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Does it matter what colour I paint my darkroom?
.....Ebony and Ivory....together in perfect harmony...side by side by my
piano keyboard...zzzzzzzz. "jjs" wrote in message ... In article wDw3c.9670$Up2.7652@pd7tw1no, "SofaKing" wrote: Seriously. Any thoughts on this. So far it's different shades of gray. I know Ctein drapes his in black plastic claiming it sucks up the dust. Thx. So drape your darkroom with white plastic in the wet area, and black in the dry. |
#4
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Does it matter what colour I paint my darkroom?
I'm building my first darkroom now and this is what I've gathered off the
'net. At least this makes the most sense to me. If your darkroom is "light tight" then it doesn't matter what color it is since it can't reflect light if there is none. However it might be safer to keep the area within about four feet of your enlarger black to avoid reflections off the wall from your enlarger onto the paper. |
#5
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Does it matter what colour I paint my darkroom?
Yes, this makes sense. But the rest probably not too dark...the reflected
safelight will help in navigating the semi-darkness. If your darkroom is "light tight" then it doesn't matter what color it is since it can't reflect light if there is none. However it might be safer to keep the area within about four feet of your enlarger black to avoid reflections off the wall from your enlarger onto the paper |
#6
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Does it matter what colour I paint my darkroom?
Flat black on the wall and ceiling near the enlarger -- white
everywhere else. Chris Ellinger Ann Arbor, MI |
#7
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Does it matter what colour I paint my darkroom?
My darkroom, situated in my garage away from all walls, measures 5 x 6 feet
and the walls are particle board sheets with 2 x 4 wood framing. Since I love the smell of wood, I did not paint any of the wood and I've not experienced any adverse affect while printing with my enlarger. Thus, I do not see any reason to paint a darkroom black unless there is a distinct circumstance that someone else might have a problem with in their own environment. "SofaKing" wrote in message news:wDw3c.9670$Up2.7652@pd7tw1no... Seriously. Any thoughts on this. So far it's different shades of gray. I know Ctein drapes his in black plastic claiming it sucks up the dust. Thx. |
#8
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Paint it Black - Fog in enlarging
"tm" wrote:
I did not paint any of the wood and I've not experienced any adverse affect while printing with my enlarger. Thus, I do not see any reason to paint a darkroom black ... There are several sources of 'stray light' (light you don't want) when enlarging: 1) Light leaking from the enlarger a) negative carrier b) lamp housing c) lens board or lens turret 2) Light leaking (not quite the right word) from the lens a) internal lens reflections (not a big deal w/ coating) b) Imaging of inside of the lit (by the negative) portions of the lens bellows/cone and negative carrier. If possible twist your head and take a look up the lens - scary. 3) Light reflected from the paper, illuminating the room, especially the ceiling and hence the paper. If you have a white ceiling take a look up when enlarging. The result is that the whole area around the enlarger is well illuminated with white light - if your darkroom was this light you _know_ your paper would fog. The effect is variable: The effect from (1) is proportional to the exposure time and negative density - the amount of fogging light is constant and the longer the exposure time the more fog. The effects of (2) may change with head height as more of the light falls on the enlarger column or room walls. But generally the fog from (2) and (3) are constant for all negatives and magnifications: they are proportional to the amount of light-seconds to expose the paper which, if paper sensitivity is fixed, is generally constant. In sum, just about all the fogging light hitting the paper first bounces off the ceiling and walls. Painting them black will reduce the amount of fog. (3) light from the enlarging paper, and often the greatest contributor, can only be mitigated by painting walls and ceilings black. Reducing (2b) requires a bit of flocking/painting inside the enlarger. Now, how much does this matter? If you are making murals you will find it is almost impossible to get clear highlight. The light leaking from the enlarger, that has no effect in a 20 second exposure, fogs mightily in a 10 minute exposure. Also the entire darkroom becomes the enlarger's cubicle and would need to be painted black to keep fog down. Can you see it? Do you care? Only one way to find out: 1) put a clear negative in the carrier, place two overlapping coins/opaque things in the center of the paper. 2) make a middle grey exposure 3) place a coin on the center of the clear film in the carrier. The coin should not cover more than 1/3 the negative area. 4) Remove one of the coins in (1) 5) Make another exposure equal to (2) 6) Develop 7) Any difference between the overlapping coins is the highlight effect. Any difference in the shadow of the removed coin is the mid-tone effect. -- Nicholas O. Lindan, Cleveland, Ohio Consulting Engineer: Electronics; Informatics; Photonics. psst.. want to buy an f-stop timer? nolindan.com/da/fstop/ |
#9
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Does it matter what colour I paint my darkroom?
For a black and white darkroom I would suggest yellow rather than white (the
yellow of the Saunders easels) it reflects almost as much light as a white wall but less of the (bad) blue part of the spectrum. And black of course, but just around the enlarger. -- darkroommike ---------- "SofaKing" wrote in message news:wDw3c.9670$Up2.7652@pd7tw1no... Seriously. Any thoughts on this. So far it's different shades of gray. I know Ctein drapes his in black plastic claiming it sucks up the dust. Thx. |
#10
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Paint it Black - Fog in enlarging
During the last eight months, I have made 5 x 7 and 8 x 10 prints of my
father's approximately 500 b&w negatives of me and my siblings from childhood to adult years in my garage darkroom with the aforementioned unpainted wood walls and have obtained perfect images with absolutely no discernible problems from any source anywhere within that enclosed environment. "Nicholas O. Lindan" wrote in message . net... "tm" wrote: I did not paint any of the wood and I've not experienced any adverse affect while printing with my enlarger. Thus, I do not see any reason to paint a darkroom black ... There are several sources of 'stray light' (light you don't want) when enlarging: 1) Light leaking from the enlarger a) negative carrier b) lamp housing c) lens board or lens turret 2) Light leaking (not quite the right word) from the lens a) internal lens reflections (not a big deal w/ coating) b) Imaging of inside of the lit (by the negative) portions of the lens bellows/cone and negative carrier. If possible twist your head and take a look up the lens - scary. 3) Light reflected from the paper, illuminating the room, especially the ceiling and hence the paper. If you have a white ceiling take a look up when enlarging. The result is that the whole area around the enlarger is well illuminated with white light - if your darkroom was this light you _know_ your paper would fog. The effect is variable: The effect from (1) is proportional to the exposure time and negative density - the amount of fogging light is constant and the longer the exposure time the more fog. The effects of (2) may change with head height as more of the light falls on the enlarger column or room walls. But generally the fog from (2) and (3) are constant for all negatives and magnifications: they are proportional to the amount of light-seconds to expose the paper which, if paper sensitivity is fixed, is generally constant. In sum, just about all the fogging light hitting the paper first bounces off the ceiling and walls. Painting them black will reduce the amount of fog. (3) light from the enlarging paper, and often the greatest contributor, can only be mitigated by painting walls and ceilings black. Reducing (2b) requires a bit of flocking/painting inside the enlarger. Now, how much does this matter? If you are making murals you will find it is almost impossible to get clear highlight. The light leaking from the enlarger, that has no effect in a 20 second exposure, fogs mightily in a 10 minute exposure. Also the entire darkroom becomes the enlarger's cubicle and would need to be painted black to keep fog down. Can you see it? Do you care? Only one way to find out: 1) put a clear negative in the carrier, place two overlapping coins/opaque things in the center of the paper. 2) make a middle grey exposure 3) place a coin on the center of the clear film in the carrier. The coin should not cover more than 1/3 the negative area. 4) Remove one of the coins in (1) 5) Make another exposure equal to (2) 6) Develop 7) Any difference between the overlapping coins is the highlight effect. Any difference in the shadow of the removed coin is the mid-tone effect. -- Nicholas O. Lindan, Cleveland, Ohio Consulting Engineer: Electronics; Informatics; Photonics. psst.. want to buy an f-stop timer? nolindan.com/da/fstop/ |
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