Watching a Picture come to Life

There are two special moments in darkroom work: the first is when you unroll the wet film from the black developing tank and see the negatives, and the second is when your first full size print comes to life in the developing tray and you see the image in the red light.

Basil-3446 It was a hot and humid day in Durban and I loaded the film into the reels and developing tank in a small windowless and airless room under the steps at home. Then I set about the chemistry of mixing the DF11 Ilford film developer, a homemade stop with vinegar and the Ilford fixer. The temperature of the developer is critical and fortunately Ivor Ginsberg had sent me a thermometer that fitted in the irrigation spout of the developing tank.


Classic equipment in original boxes with manuals
Classic equipment in original boxes with manuals

Using the Durst “Made in Germany” mechanical timer and Mike as a time keeper, I poured the developer into the tank like a celebratory glass of champagne and agitated the mix every minute until I poured that out and poured in the stop to cease the developing process. Then a few minutes in the fix, and after the first wash, I opened the tank lid and peeped at the negatives. My heart sank initially as I had exposed Mike’s film by opening the camera back as we had forgotten how to rewind the film in his “automatic” Minolta 500i. The OM1 was much easier with a manual rewind lever. But the negatives looked alight.

I used dishwasher rinse as a wetting agent, then dried the film with a chamois, as I only had an old squeegee that would scratch the film because the rubber had perished. Ivor had sent original film hanging clips so we left them to dry in the shower and had lunch.

After lunch I set up the spare room as darkroom.  I placed the Meopta enlarger and timer and the Patterson enlarging “computer” ( just a simple exposure meter) on a table. After a few test prints, as I had no idea of what time to use, we found some images appearing. When I changed the enlarger bulb to a full 150 Watt light things really started happening. Ivor had sent some old (from the fifties or sixties) Agfa Bronica paper. This was not a resin paper and dried badly without a proper drier or press. Then we started using the Ilford Mutilgrade resin paper and my first picture was born.

The equipment was working well enough to plan a darkroom party at Costa Calla.