Analog photography: Making your first darkroom print | Jahan Saber | Skillshare

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Analog photography: Making your first darkroom print

teacher avatar Jahan Saber

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (47m)
    • 1. Introduction

      1:15
    • 2. Process Explanation

      10:41
    • 3. Gear haul

      6:24
    • 4. Preparing the chemicals

      3:48
    • 5. Preparing the contact sheet

      5:54
    • 6. Printing the contact sheet

      6:11
    • 7. Final print

      12:48
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About This Class

In this class i'll be guiding you through the process of creating a simple print in a darkroom. All the necessary materials will be listed and a tutorial of the all the steps from negative to a final print. 

Meet Your Teacher

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Jahan Saber

Teacher

Jahan Saber is a photographer and artist born (1990) and based in Vienna, Austria. He is the founder of "DEVELOP" - a brand that focuses on raising awareness for the analogue process in photography and beyond. Coming from a commercial background in the photo industry he sought out to seek out a means of decelerating the over-saturation and over production of photographic media. Shooting and printing exclusively with the analogue process enables him to further his artistic approach into creating a more honest and connected portrayal of his surroundings.

Jahan has travelled across Europe throughout the past 4 years discovering his style and approach to analogue photography. Throughout his journeys he self published various photo-zines and small book projects.

Member of the A... See full profile

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Transcripts

1. Introduction: a long walk. So in the previous classes, we talked about the basics of photography on how to develop our own black and white film at home. On in this class, I'm gonna be giving you a step by step tutorial of dark room photography. Now, darkroom photography is all about having one of these films developing it on being able to make a really photograph out of it. So a real doctor imprint on their a few steps that you're gonna have to do. So essentially, you know, you have your negatives on, then once you have your negatives, you want to actually make a print out of them because you can't really do much with these apart from scandal, that's not that much fun. So this is a really kind of cool craftsmanship kind of thing to do. This is how photos were printed long before there was any computer or any photo shop or anything like that. So in this class, I'll be giving you a step by step tutorial of all the things that you need in terms of gear on, and I'll be guiding you through the process so they will be an explanation of exactly what's happening. Andi, I'll be giving you a step by step tutorial off all the you know, chemistry related things have. You have to mix your chemicals on what you need to watch out for in order to get a really good print. So I hope you enjoyed this class on stay tuned for more. 2. Process Explanation: Okay, so, um, the process explanation behind how to get one of these princes? Actually, it's very simple. It's very similar to just shooting normally with analog film. And basically, what happens is that we we have a surface that's going to our canvas that's gonna be projected with lights. Andi. So let's say this is our campus right here. We're gonna projected with light so light, or let's say we expose it on. Then in the next step, we're gonna put it through the developer. Then we're gonna have to stop the development. We're gonna have to fix it, and then finally, we're gonna wash it Now, obviously, we're not working with a camera or anything. We're gonna be working with a different device, and that's gonna be an enlarger andan. Larger is something like an overhead projector. If you know what that means is if you don't know what that is, it's basically a machine that projects a transparency and enlarges it. So puts it on a bigger surface, something you know you'd use in schools or universities or things like that long before they had proper Beamer's. Now, um, the way the the larger is set up is. Basically you have, like a top part right here. Andi, In this top part, you'll have a light source, so you'll have, like, a light bulb inside here. So this is like a see through view right now, and you'll have a condenser and you'll have a lens. So this is my lens, and then we'll have, like, a condenser in, like a a mirror in here. And what happens is the light in here gets projected onto here, and then it goes through. And so this is connected like this on. Then we have, like, a base plate right here. So the light shines through, goes through the lens and it gets projected onto here. And then obviously we can adjust this and heights so it can, you know, goes up or down. And then as we move this up or down, then our focus plane will change and the image will get either larger or smaller. So when we're working with this there, two things that we we can we can adjust. First of all, it's the size right here, and the other things is for how long the image will be exposed on the aperture of the lens . So if this is my surface right here, just let me sketch this real quick. This is the larger and this is the in larger head right here. Okay. And here's my lens on. It's gonna project an image onto here, so obviously we want to have some sort of control. So this is kind of like my image right here. Let's say it's like tree or whatever, and we want to have some sort of control over this. So there. Two things that we can adjust first. But we have the lens, which is like in our camera, and then we have a timer which is similar to our shutter speed. So in the lens, we have our F stops, like, you know, if 2.8 toe like F 16 or whatever and that will change, the value is exactly like on our cameras. So if we have f 16 we have a very small aperture. Opening of F 2.8 will have a very large aperture opening so more light will pass through and F 16 will have a lot more sharpness and so on and so forth. You know these things already? If not. Then check out the previous videos. And then, on the other hand, we have a timer. So this device is connected to, like, kind of like a kill switch timers. So we have, like, a timer right here. Onda, we, you know, put it like the values or something. And you can, you know, you can steer for how long the machine will be, the larger will be on, and then it will automatically shut off. So, for example, we can, you know, we can set it to, like, 10 seconds. That will be our exposure time. And then after 10 seconds, the light will automatically cut out. Now, the important thing is obviously as thes papers, air light sensitive, we're gonna have to work in complete darkness. So all of this happens, like when we're developing or when we're developing our film, we're loading the film. It's gonna have to happen in complete darkness. Otherwise it's gonna be exposed and ruined. And then we can't use it Now. Obviously, this is gonna be really difficult, because how are we going to know? You know where the image will be placed and how are we gonna be able to decide. You know how long to expose it and all these things we would be in incredibly wasteful. So the lucky thing is, and probably you've seen this maybe in, like, movies or something or you've heard of it is that we have to work in complete darkness. But nevertheless, the complete darkness we can have red lights, and this is because these papers are light sensitive, but they're not sensitive to red light. Now, this makes it incredibly easy for us because now we don't have to fumble around in the dark and we can actually see something. And we can have tons of red light because the red light just won't harm the paper. So what we do is at first there's like, there's a little slide in here. Um, call it the Red Slide on and eso, once we place the negative in here, will have the red slide. We can turn on the larger, and it will project the image onto the paper and then we can, you know, we can adjust like we can zoom in, zoom out and we can work with the sharpness and things like that without the paper actually being exposed because it would just be projected with red light. And I'll be showing you this later, of course. And all my all the surrounding will be completely dark. And then I'll have, like, red lamps placed around. So, you know, like I have, like, a red lamp here, and little have, like, a red lamp here. So these air dark room lamps, they look kind of funny, but you'll see there. They actually look like this. Um, so I have time to set all of this on. Then once I'm ready, I'll turn off the in larger again. I'll take away this red slide, and then obviously, the it will be the normal bulb that the normal white light that will shine onto it once I activated. So what I do is I know all my settings. Everything is done. And let's say you know, I'm gonna be exposing this paper out like F 11 for 20 seconds, so this is what's gonna happen. So I set the lens on F 11 on. Then I'm going to set my timer to 20 seconds and I press the button. So just to start the in large will go on the light will shine on the paper will be exposed and then automatically the device will kill it. It will be shut off and it will be done. And now I have a paper. The paper will obviously just look like this once it exposed because it's, you know, it's not actually developed yet, so we're gonna have to put it through these three steps. Now, what we have is unlike when we are developing film, we actually have thes kind of trays, so and in these trays will have our liquid inside. So we'll have our developing tray on. Then we'll have our stop and we'll have our fixer so we'll take the image, will put it into the developer. And then, well, you know, it will be in here for, like, around one minutes, and they will put it into this stop. And it'll be in here for 30 seconds and will put it into the fixer. And it'll be in here for another minute. And as we're putting it into, the developer will already after like 15 seconds will be able to see the actual image appear. So this is the really cool part about it, because you just really see, like your work coming alive in a very literal sense, and that's very cool on this is basically the process. And then, obviously, finally, we'll have another one on. That will be the water wash just Washington on Yeah, this is the This is the process of working in the dark room, and there's so many things that that you can get get involved with there so many different techniques that you can work with. Andi, I'll be showing you all of this in the next few videos. The only other thing that I want to mention is that when you're starting doing this, they're they're two different types of paper that you can work with. Andi, all of these air positive papers. But this one is on R C paper and R C stands for resin coated, and that means there's actually a coat over over these papers, and they're a lot easier to work with. So once they're exposed, developed, fixed, washed all of these things, you have to wash them in water. Andi Thea RC papers only need to be washed in water for like around two minutes and not any longer. And then all the fixer will be cleared because there is a coat and the fixer doesn't actually get deep into the fibers of the paper. So these are very easy to work with under there, they're great for beginners or, you know, even if your professional or something, they're still great papers. There's nothing wrong about a R C paper. Obviously, if you wanna like step up your game a bit, you're going to get a fiber based paper and they're usually labeled as FB papers. Andi. Obviously, all these papers come in different types like so there's like this one. There's glossy, and then there's like a math paper, and there are many different types that go in between as well. So there's like semi glossy and whatever but the fiber based paper they need to be washed for around, I think, 30 minutes. Eso It's a lot longer, and you need a proper like washing mechanism for them, and then once they're washed and dry, they will. They will be really probably a crumpled up like this because obviously the fiber based paper has no coat and the water will affected, so you'll need like a heat press that will flatten the image properly and keep it flat. So this is something I would only recommend getting into If you really have all the equipment that you need or if you're very used to working, you're already like a semi professional or something on. Do you feel comfortable with working in the darkroom? Then I would recommend definitely getting into fiber based as well. But for these videos, I'll just be talking about R C. Paper. And from my opinion, there is really, like RC papers. Great. So there's nothing you should worry about when using that. Okay, So in the next video, then I'll be showing you all the things that you need you need from point of view from gear . So, like, what kind of a larger is you need on? You know, you know, you have gonna have thes trays on what chemistry you need on, you know, the red lights and all those things. So they'll be in the next video 3. Gear haul: so welcome to my dark room. Now, as you can see, this isn't actually designed to be a dark room. It's actually a bathroom. That means you could do this in your bathroom as well, given that you can actually get the entire room completely like so I have one of these slides right here on day. Once I put this down on I turn off the light. It's completely dark in here. So this is the first essential thing that you'll need for working in a dark room. You need a room that could get completely dark. Now, the next thing that you need is the enlarger. That's what I was mentioning before. So basically what I showed you in the sketch before is so we have we have a light bulb in here on projects light through the lens. That's right here and onto this plane. And usually these come with one of these times, which is some of them have them. Some of them don't. What you do here is you control the time. Andi, I'll show this to you later. Up. Close on. So you have, like, a start and a stop setting and whatever and you can select for how long the image will be exposed for. So this is how this works. And then right here you couldn't change the aperture of the lens and you do all those things. And like I said, I'll go into detail on that later. Then the next things that you're gonna need, which are essential, is you're gonna need these trays. Then what I usually do is I I labeled them. So this is my developing trade. This is my stop bath. My fixer and I always use them for the same liquid. So I don't mix them around eso you'll need minimum for So you'll need one for the developer . One for the stop bath, one for the fixer on one for washing. I usually have like, Well, I have, like, 10 20 of those because you can never have enough of them, especially if they get old and they get full of chemistry. Maybe you want to reuse them or something, but I have plenty of them because I keep reusing the muscle for other things. So but like five, I would say five is like a good number to have, especially if you're carrying things around in the dark room. You know, you don't want to be, like carrying wet prints around, so it's also good just to, like, have one to, you know, put the print inside, have a look at it and then, you know, hang it up somewhere else and not carried with your fingers or something. So it's good to have, like, a transport trade you're gonna need Tom's toe work with. You don't want to put your fingers inside. It's no necessarily healthy. And you don't want to be using gloves all the time because it will get into the way of working with here because obviously, you're gonna be touching the negative on. Um, so tongues were really good on, and yeah. I mean, if you're developing your own film, you're gonna have most of these things already. Like you're gonna have all these measuring cylinders. These were really handy, Andi. Yeah. Then you're gonna need your chemistry. When it comes to chemistry. I'm using everything from Ilford on a developer. I'm using Ilford, multi grade developer on. This is something that I really like Works really well for me. There's so many different brands out there that you can use. Like I said, when it comes to developing film, I just like the offered brand. So this is what I use. So I got my offered developer. And then, obviously it will always say what kind of concentration you need to work with. So this is 1 to 9, and then I'll be mixing the chemistry and the no show you doing that? I already have my stop path on my fixer mixed because I I always reuse this when it comes to other developing or working in the dark room. It's just a lot more economical and not so wasteful. So I have my chemistry set. Then, um, these were the light red light bulbs. These really cool Andi really, really useful. Otherwise, you're really working in the darkness, and that's gonna be very tricky, especially if you working with all these trays. Yeah, and I think the only other thing that's important is one of these easels that makes working a lot easier because, you know, you can put in the prince right here on. You know, you can select what kind of paper size you're working with, and then you'll get a very nice frame. Oh, yeah, And finally, the last thing that's really practical is one of these print dryers on, and all you do is you know, you just answered the print and you can let it dry. It's it's a lot easier than having something where you have to hang up all your prints, like on a washing line. Likas the blind or something because I just saved so much space. So I got this used for, like, 20 euros, and that's not expensive. Usually this you're a lot more expensive if you buy them new. Usually a lot of these things you could buy used like it's not really worth investing too much because, especially if you're a beginner like Don't don't worry about getting like fancy, and larger is they're really expensive. You know, you could get like lights, and larger is which will be, like 8 900 euros or something, or, like basically $800 something. I got this passed down from my parents because my mom had this, so I got this free. A lot of people have these, like in their garages, hanging around from like ages ago. Sometimes you can get them from free for, like, rubber from, like relatives or something. You can also get them on eBay and, you know, places like that. I think, um, like a average like this is ah Durst. It's made in Italy. These are really good, really solid brand. You can get these, like most places, like eBay and stuff like that. It shouldn't be too complicated. Toe grab one. Yep. So these are all the things that you'll be needing for now? Oh, yeah. Before I forget which this is the this is the most important thing. So when you're working with the enlarger as your as you're adjusting your your settings and you know you're like zooming in and out you want to have one of these and this is a grain focus. Er on. What you do basically is you put this on your plane, and it kind of works like a loop. So you look through here, Andi, as you as you focus on your larger, you can actually get a perfect you could. You could get the perfect sharpness because it will project onto the negative and you'll see exactly when the image is perfectly sharp. And then, you know you can leave it set, and then you can do your print. So a grain focus here is also right. And yes. So these are all the things that you're gonna need on. So in the next video, I'll be showing you how all of this works together. 4. Preparing the chemicals: Okay, so next time I'm gonna be mixing my chemistry on. And, um So, like I said before, I was gonna use Ilford multi grade developer on. And I'm gonna be mixing this in 1 to 9. So, like I explained in the developing video, basically how it works is you use one of my measuring senators right here. Found this ratio one to mine on. And that means if I wouldn't be making a total of one leader, so I'm just gonna put in 100 milliliters in here. Okay? That's 100 milliliters. It's really kind of concedes, Thrity. Kind of yellowish still find thes, hold for, like, around 3 to 4 months and then 20 degrees water and then fill this up. So this will make 500 millimeters. So I'll just pour this in here on, then the next thing again. 500. All right, there we go on. So this will make a total of one leisure. Now I'm That's it. Developers ready so I can place it on the side with the stop after It's the same principle . Like I said already, have it mixed. The will first stop works as a dilution of 1 to 19. So if I would be doing this again, if I'm making one liter, I would fill 50 milliliters and then add 950 milliliters of rest. So I like I said, I already did this before, and I already have the ready solutions in here, so I'll just pour this in here quickly. So this is my stop path. And the important thing is that when you place your trays here with all the chemistry that you keep a specific order. So what you want to avoid is kind of having, um I don't know, the stop bath in front. And then, like the developer, something in the wrong kind of arrangement. What you really want to do is you want to have your developer first, So when you take out your picture and you move it into the next one, you're not going to contaminate the chemistry's. So the chemicals, so you're gonna have your developer first. Then you're gonna move into your stop bath, and then from here, you gonna go into your fixer. You know you don't you don't want this in like an opposite direction, because that's just gonna get really awkward and you're gonna mess around with chemistry and the chemicals, and you could kind of contaminate your your chemistry. And you like, you really want to avoid that. Because if you get like two or three drops into the developer of, like, the stop bath and you know you're gonna ruin the efficiency of the developer and you really want to avoid that, so especially if you're reusing stuff. Okay, So finally in here, I'll put my fixer. The fixer would also be the Ilford rapid fixer, which isn't a dilution of 1 to 4 on. This is also 20 degrees. So all of this is 20 degrees Celsius. And then finally, I have my my water bath right in the end. 5. Preparing the contact sheet: Okay, So before we actually get started with making photos, the first thing we're gonna do is we're gonna make a contact sheet. Now, a contact sheet is basically if we take like, a set of negatives like these, we're gonna place a paper one of the light sensitive papers underneath it on. Then we're gonna activate the larger, like so, And it was going to shine the light just over the area where the negatives are, and that's going to project a copy onto the photographic paper. And then we're gonna actually have, like, miniature images on a big paper that we can look at property because it's complicated to look at negatives and really understand the photo properly. So we're gonna we wanna have some sort of proper overview. That's what we're gonna do with a contact sheet. So that's the first thing that we're gonna do before we actually make a finished photo. Okay, so this is obviously it's gonna be a bit difficult to see everything perfectly. So I'm gonna try and explain things is as good as possible to you right now. I'm just gonna turn on the larger so you see what it's gonna look like. So this is the surface that we're working with. Andi, I can adjust this on. And as you can see, if I move the the projected image will get larger and, like him, turn the focus on them. So, like, right now, the lights will cover the negatives completely. So obviously I have the red light on. And then if I would move it, then you see is the white light. And this is what would make the actual paper be sensitive. So just for now for working around with this, I'm gonna keep the red light on, and then I'm gonna grab some of my photographic paper. Now, there is one thing that you can do that will make all of this easier. Is you could get a designated, um, contact sheet printer, or you could do what I do. So So this is my paper right here. This is a light sensitive now, so except to the red light. So it's safe for now on what I do is I use some glass that I will cover the paper with. So essentially, what I'm doing is I'm gonna place the negatives over the paper like so on making sure that the paper is completely covered by light. And then I have my glass right here, and I'm just gonna lay this ride over the negative, so it's gonna flatten the image perfectly. I've never tried to do this without a glass, but I'm pretty sure that it would work more or less just fine. Putting the glass over it obviously helps to increase the sharpness. So right now I'm ready. Teoh work here. Three. Only thing I need to do is I'm gonna have to work with my aperture on my exposure time. So, like I mentioned earlier, I have this timer right here on Dykan. Set it to 1126 seconds or Aiken times it by 10. So one second would be 10 seconds to would be 20 seconds, etcetera. There so many different timers. So I don't want to go into too much detail of how this one works because there are so many different ones, and they're all very similar and very basic, though, so it shouldn't be too difficult to figure it out. So essentially, what I do is like I would set a certain time I would started on then it would automatically just turn off. Now when you're when you're working out, what kind of time you want to work with, obviously like right now, I have no idea what what's the correct exposure time for this paper. So I need to experiment around Andi. Ideally, what you do here is you set an aperture, so it's best to work with an aperture. So as you can see if I'm if I'm turning the aperture, the image keeps getting. The frame here gets darker and darker as the aperture role is closing. So usually it's good to work with something like F 11 or I usually work between F 11 and F 16 that that really is the the best optimum sharpness for from islands. And every lens has a different optimum shortness. So what I do is I will make a test strip on the test strip will determine for how long what time I need. T properly develop thesis paper are exposed to light. So I'll just turn this off for now on. Then what I'll do is I'll get some cardboard. I could just use the packaging right here or anything else, and I'm gonna cover most of the image, and I'm only gonna leave one stripe of negatives exposed to the light. So I'm gonna do this in intervals of two seconds. So, as you can see, it's gonna be exposed for two seconds and then it'll automatically turn off. So I'll take the red Safety away now and then I'll start like this and I'll expose it for two seconds. Boom. Okay, on, then, another two seconds and then again, two seconds and then again from seconds. I'm going to continue doing this all the way Until I finished. Continue. One more on the final one, which is just that strip there. And there we go. So this is exposed now. 6. Printing the contact sheet: Okay, So now, obviously, for the teaching purposes, I'm not gonna I can't show you all of the steps as there's really only limited light available. But what I'm going to do now is I'm gonna place the paper into the developer, and then hopefully you'll be able to see exactly how the paper reacts with the developer and what time it's finished in. Obviously, the one thing that you're gonna have to do is you're gonna have to use a timer to know exactly for how long the paper's gonna be inside. What I do is I just use my wristwatch. I know exactly what kind of time I need to develop the paper in, and every paper has usually like a different time. But most of them are around one minute for the developer. Also, depending on what kind of developer you're you're using. But for now, I'm just gonna I'm gonna do this with my my watch. And usually I work with an app when it's a bit more technical, but it's completely fine just to know if you have a proper stopwatch. So I'm gonna invert this in here, and I'm going to start the watch so it's gonna be exactly one minute. And then it's really important that when the paper is inside here that you give it like a swirl like this up and down. Make sure all the chemistry's placed evenly. Andi, As you can see, the images were starting to appear, and that's pretty cool, Andi. So it's in for 20 seconds. Now it's gonna be a bit more just going to continue doing this for another 25 seconds. Okay, so that's about a minute now. Now I'm going to stop this. Andi, carefully take this out on. It's gonna go of rights into the stop bath. Just good. It's a good practice to just like making sure that it drips off. So you don't waste too much chemistry on, then put it right into the stop off on the stop bath. It'll be inside for 30 seconds. We'll start to watch him and then make sure I'm agitating just to make sure all the stop is spread evenly and there's no residue of any developer. I don't think you'll be able to see much of the other things, so I do apologize for that. But so okay, so there is this is finished. Stop at this finish. That was 30 seconds. Make sure that trips off a swell on, then finally into the fixer for another minutes. Like I said, each each fixer and most of the chemistry have more or less the same times. But some do very so. It's important to check on your the whatever, depending on whatever chemicals you're using on whatever paper you're using, if there any specific times that you should be watching out for Okay, so that's been for 30 seconds and then another 30 seconds for this. And as you can see, this is it's not the fastest process. It's not the quickest thing you can do. But at the beginning, you're gonna have to do this for for most of the frames, just to get an understanding of what kind of exposure time you're working with on what kind of aptitude you're working with. OK, so so this is nearly done. Humor seconds. I can already start carefully taking it out of the fixer and then make sure that drops off swell. Yeah, and then I'm gonna finally put this in the water, and obviously now it can turn on the lights and then I'm gonna have and then I'll be able to look at it properly. Okay, so now that the light is turned on, I can actually inspect this. Andi, as you can see right here, these areas here a much lighter. Andi, I really can't identify anything on the negative so well, whereas the area up here who can actually identify the images and look at them carefully. So obviously what I would do now is I would make sure this would wash it for around two minutes. I take it out on, leave it to dry, and then I could inspect it carefully and then I wouldn't know what image I would want to print. But as this is only the test strip, I'm going to be doing all of this again on. And as I noticed before I did, I did the intervals in which I exposed this to light in two seconds. So the lightest area here was just exposed for two seconds. And then the second lightest area was four seconds as the time doubled. And it goes on and on and on and on. And if you do this very accurately, then you'll be able to see how the that there's actually a line on the paper where there is a difference in the exposure time and then you can easily calculate. So this was two seconds. This was four seconds. This was 68 10. And then I know around here around 12 seconds around 14 seconds would be the ideal time for for the exposure for this image. So I'll be doing all of this again with the same aperture, but just for 14 seconds. Okay, so now that I have my finished contact sheet right here, I can actually have a look at the images and see See what they are going to look like in real life without looking through negatives and being puzzled about what the outcome might be. So this is a finished contact sheet, and then I'll be able to examine all of this. And now we can decide, Um, if I want to make an enlargement of it. So I took pictures of my friends count right here. And so I'm just gonna pick one of these and I'll make a make it sprint for you, so you will see what it could look like. when it's a lot bigger and this is essentially what we want to achieve. So I'm gonna take one of these photos. And so what's gonna happen now is I'm gonna take the negative like this one, and then I'm gonna put into the larger and then I'll show you what happens. 7. Final print: Okay, so now that I know what kind of negative I want to work with, I need to place it into the enlarger. The larger it's just gonna wind this down again. So it has a a slot right here, which is the negative carrier, and this is quite handy. What I'll do is obviously careful when we're touching the negatives. Andi, watch out here cause it's very easy toe. Scratch them as well. I'm gonna take the negative, like so on, and I'm going to place it in negative, Holder. And then what I usually do is hold it towards the light. And then I know it's exactly position carefully, so it's not overlapping. Maybe I'll just actually show you what I would look like. So we have a negative right here. Um, you can see he cuts inside there. Okay, so I'll put this in here and now the magic of all of this is I just opened the aperture. Um, if I take an image if I mean, if I turn this on, what we can see here is maybe it works better. It doesn't work like that if I turn off the light. Um, yeah, you should see turned out on again. So, essentially, what happens is we have the image projected. They're much, much larger than it would actually be on the negative. Andi. Then we're gonna do the same process again. Andi, make a copy of it. Just turn on the light again and shut this off. Armed. Yeah. So right now, Sorry for the noise. Look at my easel right here. So the first thing that I want to do is I want to make sure that the plane that I'm exposing is gonna be more less framed correctly. So once again, Oh, go into darkness, just turn off the light and then, like him, easily see where the image will be. So for now, obviously I once again, I don't know the exact time of how long I need to expose this image for, because as this as the larger moves up and down the distance towards the plains changed hands as we move the distance, the light traveling the distance will be affected by it. So it won't be the same as like, for example, on the contact sheet. So what I'm gonna do now is I'm just gonna place my piece of paper right here. And then I'm gonna use my grain and larger Sorry. Migraine focus, sir. And then just hold out onto here, and then I will adjust my focus. So I will be able to see I will be able to identify the grain. Okay. So as it was, pretty much impossible to show you what I could see through the grain. Focus, sir. I'm just going to show you the next few steps. Okay, so the next few steps, once I have my green focusing on by made sure that my my frame is sharp. I know what my focus plane is like, Andi. Then I can put this in place right here. I can look this down. So this is what my friend would look like. And obviously, this is not accurately frame now in the easel. So my my image is a lot larger. So many. I turned this up and you could see the papers much smaller. But what I'm just doing right now is I want to make sure that I know what kind of time I'm working with. So once again, what I'll do is I can take some some cardboard paper. Actually, I have some. So have some proper cardboard paper right here. And then I'll do two second intervals again. Ums. I'll be doing 11 so start like this. Okay, so now I consequently exposed this to every two seconds. Two seconds for a 2nd 6 seconds and it kept increasing on. And so this is my my test, my test print. And then I can do the whole process again, like I did with the contact sheet. Well, but in the developer and stop fixer. And then I'll know exactly what kind of time I'm working with, and then I can actually make my first proper print. Now, after after washing this, you can see that this is my my test strip, and you can actually properly see the different exposing times. So this was two seconds than the next line was. Four seconds, and it was six seconds, eight seconds, 10 and so on and so forth. Now what we have to do now is we can analyze the image, and we can see so the cat is obviously in here. It's it's it's way too dark and we can't identify and anything. I'm the surrounding here So this is like a sofa on the background. If we were going to do two seconds, we would, you know, we would hardly see a property. And four seconds seems like the right thing to do. Anything else is getting its We know this is already way too dark down here. So the question is, we want to get kind of correct balance between making sure that the cats is visible. But also the surrounding isn't too bright, because then, you know, maybe there's not enough contrast of the image of something. So keep in mind, obviously, this was a film. That's very contrast. Strong contrast. So there's gonna be a lot of contrast in it anyways. So what I'm gonna try and do right now is I'm gonna make a print at I'm gonna try four seconds. Actually, you should try four seconds on, see what the cat looks like, and then I'll get to the next. Okay, so now I made a base exposure of four seconds. What we can see is that the count is actually just bit just a bit too dark. But the surroundings are just way too light. And if I compare to the one right here. So this was four seconds. I really want the surroundings to be maybe around. So 2468 maybe around, like, 10 seconds or something. But then the cat would be too dark. So what I'm gonna have to do right now, it's gonna have to use a technique called. Well, there's just like you have with Photoshopped. There's dodging and burning. So what I'm gonna do is I'm gonna have the cats be exposed at four seconds, no more than four seconds, and then I'm gonna protected from the light. So I'm going to dodge all of this, and then I'm gonna make sure that the surroundings achieve more light on, and I can do this with with my hands. I can do this with, like, a tool, and I'll be showing you exactly what looks like and then we'll see what the final print could be. So, essentially, what I'm gonna do is I'm gonna set the timer on this image for the maximum time that I want , So that will be 10 seconds in total. But as you remember, the capped should only be exposed for around four seconds. So what? I'll do is I'll start the timer, and after four seconds, I'll be using my fingers like this and I'll get into the frame and kind of protect the cat from from getting more lights and like this on Lee, the the outside and the surrounding will be exposed longer so the cat won't get darker. Now, this is what a lot of people would say is the rial arts in a dark room photography? Because this is really a skill that you could learn. You know, like I'm doing this with my fingers. I'm really interacting like this. And some people, actually, you know, they have a brush that they would use, or they would build little tools with with what they could dodge and burn these things. And it's something that requires a lot of practice and a lot of skill t get accurately. So this is a bit of a tricky image, but I'm gonna try and under less, and I'll see if it works out for you. So I'm gonna set my time to 10 seconds. Make sure my apertura is same as before. Okay? And then I'm going to remove the red safety and then going to start the clock at 10 and then I'm going to count down. And after four seconds, I'll start dodging. So for three to one, um, now I'm just dodging. It's like this. Okay, Okay. Now, let's see if this worked out. Uh, well, looks a lot better. I don't think it's perfect. We'll get the hang of it. Okay, So I'll just put this into my stop half Andi into the fixer on. Then we'll see. And we can have a look at the image again on analyze our results. Okay, so here we have our final print. I'd say this is the one. Um, the count looks good on the surroundings as well. Obviously, the tail isn't as good as it could be. It's It's a bit too dark, but ah, the wall. Andi couch here at little looks good. Obviously, this is going to be impossible to really get 100% right? This is pure light coming in. And so you have a very strong contrast, and it's gonna be difficult to get information out of this without compromising the other areas on. And so, as you could see, we started off with with the test print right here. And then we did a few different tests here. The so far was a bit too to light. In my opinion, here was definitely a lot to light. And this is the final print. So this is what it looks like to work in a dark room and to go through the whole process of getting the correct exposure for an image. Now I have to say that this this was a very difficult image to work with because of the strong contrast on the the strong lights coming in from the side, and then the camp being kind of badly lit and everything. So it was a difficult one to make. But I hope this is gonna be still a good a good lesson for everyone who's who's watching you can you can really grab the key things out of out of working in a dark room. And there are a few other techniques that I will explain in the future. But for now, this is everything that you that you need to know to really efficiently and effectively work in the dark room. So thanks for washing. And I really recommend that everyone who's into film photography tries this or anyone who is into photography because it's it's a really great process that you you can work with, and it's a lot of fun once you get into the hang of it. So I definitely have some music in the background. I obviously didn't have any now for for this lecture music is well advised on. You will probably spend hours in the dark room if you really get into the zone. So anyways, I really hope you enjoyed all of us. Andi. Once again, feel free to contact me. Write me a message or anything right here on the platform or write me onto on my Do you develop Instagram. That's where I'm most responsive and yet have fun working the dark room and enjoying. I'm discovering more about on a lot photography. Take care