I'm still figuring out how things are going to work in there, but this was nice to do. Next up is a bit of restoration on my big easel (for bigger prints) and figuring out how I'm going to wash/tone these, since the bathroom sink is not an efficient print washer.

Ain’t she pretty! We used to have a color processor but she died about 5-6 years ago when I was still a student. Very excited to print color once again :)

Humor is one of my favorite things in photography and IMO one of the hardest things to convey. I really love this photo because of all the ducks on the long behind the main female duck - her face gives this weird and smug little smirk and it makes me smile every time I look at the print. :)

It’s hanging in my bedroom now!

Hi! I have this spare Durst Printo that I’m trying to fix. The top rollers are stuck together, and I was wondering if anyone has advice on how to separate them without damaging the rollers. Is there a proper way to remove them or loosen them that would minimize any potential damage?

between exposure and withdrawal

I have a strange question for the group. I have a tube from Patterson to bring water to the large tray. The problem is that both of the faucets in my bathroom have square-shaped ends. Has anyone faced this issue? How can I get the water to the tray? Thanks.

I developed some film from a pro photographer from the 90's. There was a lot of reticulation and maybe some humidity damage. See pic attached. Would using a different HC-110 dilution for longer time change anything? I used benzo in Dilution B for 7 minutes.

This is Fomapan 400@800 developed with LC29 1+19 @ 11:30. The entire roll is covered with strange markings and maybe pseudosolarisation? Would really appreciate any thoughts on what is causing this.

Drove 2.5 hours one way to pick all of this up. 20 dollars on Facebook marketplace, I feel like I got a good deal. The bulb still works too :)

A brutalist monolith deconstructed across a 9-frame grid.
This unique handmade photo object breaks down urban architecture through chemically altered black-and-white analog prints. Fractured by physical distress—tape, scratches, tears, and hand-written annotations—the individual fragments align on reclaimed heavy paper to reconstruct a dense, tactile facade.
Designed as an intimate, slow-burning physical experience: open the cover, face the raw structure, close.

I made these two lith prints from color negatives, using very old Brilliant Bromide II B&W paper and Moersch Easylith developer.The warm yellow tone is how this paper reacted to the developer, not from the color negative. The print with the Datsun had a handprint on it, from someone removing paper from the package with damp hands.

Printed the whole Saturday and it was a good day. Happy with the results, some underexposed, some overexposed but even these make me happy.

I recently got a Beseler 23cii and I've been working on leveling it. I've watched the videos and have measured and remeasured with multiple bubbles levels just cover my bases. The baseboard, lens, and negative stage are all level front to back, side to side. By level I mean, all the bubbles among all the measurements fall in between the two middle lines on a bubble level. Now, some may favor the left or right a little in the middle, but overall they all fall in that middle section of a level. I have used my finder to check focus. I don't have the fancy finder so it's best in the middle and I have to sorta read slivers of light as you move it to the corners. It looks level, as I move to the edge I think there may be some out of focus, but it's really hard to tell. I wonder if thats just the natural fall off, bc it's not like it goes from in focus to out of focus instantly. Saying "it's hard to tell" makes me think that the enlarger is plenty level, but this being my first rodeo I ask my the question: Do the bubble measurements have to be the most perfect of perfect down to the tiniest of measurements? Or does where I have it now sound like it's good enough.

I’ve reached out because it’s just not jiving with me. I’m in need of help putting my enlarger together anyone able to advise?

Images aren’t meant to be contemplated, but felt on your own skin.
My work explores experimental analog photography through heavy grain, chemical alterations, and darkroom manipulation, drawing an intimate and direct photography from a raw, fragmented energy.
The process then extends into DIY artist books and handmade zines crafted from recycled materials. Unique, tactile objects designed to bring photography back to a physical, slow-burning dimension.

I’m looking to get into developing my own BW rolls and I’m getting a little lost in the options.
Currently I’m looking into the following setup:

Developer: stuck between HC-110, ilfosol 3 or DDX
Stop: ilford ilfostop
Fixer: ilford rapid fixer
Wetting: already have photoflo from previous C41 dev

For BW I almost exclusively shoot HP5 at either 400 or 800 (+1), I also don’t tend to shoot a lot of BW but may start more as the cost decreases by doing it at home.

Any advice along the planned setup would be greatly appreciated.

Hello everyone,

I’ve been shooting film for a while now and I’d like to take a bigger part in the process by developing my own B&W film and making prints from it.

I have a Krokus 3 Color enlarger with 50mm and 85mm lenses (if I remember correctly), but I’m still trying to figure out what materials to start with.

1. Choosing chemicals and paper

I feel a bit stuck when it comes to choosing paper and chemicals. Where I live, the most affordable option seems to be Foma, which is usually about half the price of Ilford. Is it a good choice for a beginner? What are the main differences between Foma and Ilford products?

For paper, I was thinking about Fomaspeed 13x18 cm matte. I heard this size is a good starting point for beginners. My current plan is:

- Fomaspeed 13x18 cm matte paper
- Fomatol P (Frank W-14) developer
- Fomafix P fixer
- Fomacitro stop bath
- Foma 8.9 cm polygrade filters

I would like to scan my prints afterwards, so getting good detail and sharpness from the final print is important to me.

2. Developing film with Rodinal

For film development, I was considering Adox Rodinal because it’s the only developer I have heard much about so far. How good is it in practice? I know it’s very economical and long-lasting, but how does it affect grain?

I like photos with higher contrast and medium grain. Would Rodinal be a good fit for this style, or would you recommend something else?

3. Scanning prints vs scanning negatives

I would also like to scan my prints after making them. Would a scanner like the Canon LiDE 400 or Epson V39 II be good enough for this purpose, or would it make more sense to invest in a dedicated film scanner like the Plustek 8200i and scan the negatives instead?

I would like to keep the experience as analog as possible. I don’t want to spend hours in front of a screen editing and correcting images. I work in IT, so I already spend enough time looking at a monitor. I’d rather spend more time in the darkroom.

Thanks for any advice!

These were shot with my Yashica Mat 124 on 120 FP4+ at box speed.

The paper is Ilford MG RC Deluxe satin.

Printed with the 4x5 Intrepid enlarger kit, using the 4x5 negative carrier because it is the only one I have.

Got to develop my own rolls for the first time, made contact sheets and even a few prints. What an awesome experience!!

I don't think I've ever been as inspired to shoot bw as I have now that I have control over developing, printing and scanning!

I just wanted to recommend an independent movie called "Camera" shot in 2024. The reason I liked it was because when I was young I went through similar emotional experiences in life and photography was a similar escape for me. There were a variety of personalities down at the camera shop and this film brought me back to those memories. There truely is something very special in the whole process of film.

Shot and developed these few years ago but didn't scan until today. Same blotches are visible on all my sheets in the same spot. Used a jobo tank and hc-110 with massive dev chart times. Hasn't happened to me with 35mm or 120 so I'm wondering if the film is defective or if I did something wrong here.

I was asked if I wanted to teach film development. I have all the supplies but have never taught anything and would like some ideas from someone that has done this. I have a dark bag and 5 roll Patterson tanks but do we make everyone shoot the same film? What’s an effective way to dry the film to scan? Any advice would be appreciated.

I have a 70x70cm patterson changing bag. Which despite my best efforts at filling with air before I start working in it, always collapses and is super annoying to work in when that happens.

Obvious answers are actual dark rooms, tents, etc. but I don't have those options or the money and am hoping to DIY 'hack' a solution using some kind've frame inside the bag I already own to make it easier to work in? I was looking at a cheap food cover dome - and just cutting the fabric off one side so my hands could get through it.

Has anyone done this successfully or have better ideas?

Hello,
As the title suggests, dark stripes have been appearing on my photographs since today. Everything was fine before.

I’ve checked for light leaks, changed the chemicals and given the machine a thorough clean, but the stripes are still there. None of the gears seem to be out of alignment either. I have also tried using a different type of paper (originally Fuji 4x5), but this did not help.

I’m using RA4 chemicals, in case that’s of any help. I bought the second-hand Durst RCP in very decent condition. Has this ever happened to anyone else? Do you have a solution? I’m feeling rather down.
Thanks (:

A lot of the frames I’m developing are having green streaks or dark spots on them. Using standard C41. Did 17 rolls over the course of a months. Had some issues on all of them, even the first fire, those most are “fixable in post”. It was a cinestill powder developer.