Im still learning and I don’t take things too too seriously in the bad way. I’ve not gone down the rabbit hole of mounting or even framing any of my prints. I still struggle a tad with rotation of the image, I’m not quite squared up, but I’m close enough that I can trim very little paper and get an even bordered print in a white frame with even spacing all around. I use a 4 blade easel, set my print size before loading paper so that everything is centered as possible to the little paper holder slots, load, make, bla bla bla. This gave me an idea of how much paper border I can have outside the image. I looked up typical print sizes, and the paper size for those print sizes. Still not sure what you need? At the end of this booklet we have a complete supply list for you that includes all the paper, chemicals and accessories you need to get started.I haven’t got it nailed and haven’t even printed in a while. Black and white paper is exposed under an enlarger and processed in chemicals to create a final image. Photographic paper is sensitive to light and should be handled only in a darkroom with the correct safelight. Mix these with the appropriate amount of water and store them in your bottles. The three basic chemicals are (1) Developer (2) Stop Bath and (3) Fixer. Remove excess water from your prints after they are washed so that they’ll dry faster and more evenly. This is how you get solutions back into the bottles. Label the bottles and always use the same bottle for each solution. ![]() Bottles can be glass or plastic, and should be opaque brown or black. These hold the mixed processing solutions. Some people have one graduate for each chemical type. ![]() It is best to have a variety of sizes with at least one with markings at 1oz. These are used to mix and measure the processing solutions. Photographic thermometers are stainless steel or glass, and will not be damaged by the photographic chemicals. Use it to measure the temperature when mixing and using chemicals. It is a good idea to get trays at least one size larger than the paper you are using. Label the trays and always use the same tray for each solution. The first tray is for the developer, the second for the stop bath, the third is for the fixer and the fourth is for the wash. Label each one to avoid contaminating the chemicals. You should have a set of four: one for developer, one for stop bath, one for fixer, and one for the final rinse. These are used for moving the photographic paper through the processing solutions. See our How Safe is Your Safelight? article for more tips on safelight set-up. The safelight should be positioned to provide the best illumination of the work area, but should be kept at least four feet from the photographic paper. Never mix OC and red safelights in the darkroom - even if a paper can be used with either safelight, the combination will usually cause fogging. Red (1A) safelight filters are typically used for orthochromatic materials like litho film, certain liquid emulsions and some B&W photo papers. Always check the manufacturer’s instruction sheet to determine the appropriate type of safelight for your particular paper. The most commonly used are OC (amber) and Red (A1). Safelight filters come in a few different varieties. You might also consider buying a contact printing frame, which has a Plexiglas top to hold your negatives flush on the paper for contact printing. There are quick easels in a singe set format like 8×10 or 5×7, and there are bladed easels that allow you to choose your own format. The paper holders on the easel are used to correctly position the unexposed paper and hold it flat during the exposure. The easel is used to hold the photographic printing paper while you are exposing it. We recommend a timer that automatically turns the enlarger on and off. Timers can either be stand-alone, requiring you to turn off the enlarger manually, or they can connect to the enlarger for automatic shut-off. The timer, along with the aperture on your enlarger lens, controls the exposure so that your prints are neither too light nor too dark. In order to get prints which are correctly exposed, you need to control the amount of light that reaches your paper. Otherwise, a 35mm/medium format enlarger will suit your purposes just fine. If you plan to print with 4×5 negatives in the future, you should purchase an enlarger that can accommodate them. There are also enlargers that can handle 4×5, medium format, and 35mm film. ![]() Some enlargers can handle both 35mm and medium format negatives, although you will need a different negative carrier and lens to accommodate this. If you have any questions about this, please feel free to call one of our friendly sales representatives for assistance. Depending on the enlarger you purchase, you may need to get a 35mm negative carrier and 50mm enlarging lens (with a lens board and jam nut) separately.
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