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Magnum and the Dying Art of Darkroom Printing

A few years ago, I had the pleasure of spending some time with Pablo Inirio, master darkroom
printer at Magnum Photos in New York. I was thinking about that interview recently as I heard the
news of Kodaks bankruptcy and pondered the precarious status of old media like books, film and
silver gelatin prints.
As Magnums printer, Inirio gets to work with
some of photographys most iconic images. In
his small darkroom, the prints lying casually
around include Dennis Stocks famous
portrait of James Dean in Times Square (right)
and a cigar-chewing Che Guevara shot by
Rene Burri. Intricate squiggles and numbers
are scrawled all over the prints, showing
Inirios complex formulas for printing them.
A few seconds of dodging here, some
burning-in there. Will six seconds be enough
to bring out some definition in the building
behind Dean? Perhaps, depending on the
temperature of the chemicals.
Of course, this kind of work is a dying art.
Darkrooms everywhere have been closing as
increasingly, photographers choose pixels and
inkjets over film and silver gelatin. Over the
last fifteen years, almost every photographer
Ive interviewed has waxed poetic about that
magical experience of seeing an image
develop in chemicals for the first time. You
have to wonder whether todays young
photographers will rhapsodize as much about
the first time they color-calibrated their
monitors.

I was curious to see how the last few years of digital progress have affected things at Magnum, so I
checked in with Inirio by phone this week. He was still there, bubbling with the good cheer that,
along with his darkroom skills, have made him a favorite with Magnum photographers. In the three
years since we met, he said, surprisingly little has changed at Magnum. He had to switch to Ilford
paper when Agfa closed, and he hopes Kodak doesnt take his stop bath awaybut otherwise, things
are the same. Collectors and galleries still want prints on fiber paperthey just like the way it
looks, he said. Hes often called upon to print from current members film archives, and for the
estates of various deceased members, like Dennis Stock and Henri Cartier-Bresson. The prints go to
exhibitions, book publishers and private collectors. Im still pretty busyin fact, Im backed up, he
said with a laugh.
Magnum has been digitizing its archive, but so far, Inirio hasnt been tempted to transfer his skills to
the digital realm. Digital prints have their own kind of look, and its fine, but fiber prints have such
richness and depth, he said. He thinks darkroom printing will always be with usafter all, he
pointed out, people are still doing daguerrotypes.

Magnums archive represents some of modern

historys best and boldest photojournalism. Its
photographers have been at the front lines for over
six decades, ever since, in an effort to gain more
rights for photographers, the flamboyant Robert
Capa brought together an unlikely group of friends
in 1947 to start a photographer-run collective. In
1947 alone, the small group delivered work on
Gandhis assassination, the foundation of Israel and
life in the Soviet Union at the start of the Cold
War. Since then, Magnum has continued covering
world history with passion and visual flair. Last
week, members Alex Majoli and Paolo Pellegrin
won prizes in the 2012 World Press Photo Contest,
for an image of shouting protesters in Tahrir Square and a photo-essay on post-tsunami Japan,
respectively.
As an organization, though, Magnum has often teetered on the edge of collapseeither from
financial troubles or because it attracts strong personalities who spend a lot of time fighting. The story
of the agencys first fifty years is entertainingly told in Russell Millers Magnum: Fifty Years at the Front
Line of History, published in 1997 to coincide with the agencys half century. Miller does a great job of
conveying the amazing talent and bravery of Magnum members while also dishing about the
agencys dysfunctional family dynamics. (One of my favorite quotes in the book comes from
photographer Ferdinando Scianna, who snarls, Yes, Magnum is a family. I hate my family.) My
review of the book for the San Francisco Chronicle is here.
Capas own memoir, Slightly Out of Focus, was originally published in
1947 and is now available as a Modern Library paperback. As youd
expect, its lively and irreverent. I like the way it begins, with the
story of how, in 1942, Capa was mistaken for movie director Frank
Capra by a ships captain while on his way to London to photograph
the blitz.. Happy to oblige, Capa regaled the captain with made-up
gossip about Hollywood and Capras numerous affairs with leading
ladies.
Capas larger-than-life personality, and his dramatic life story, were
ripe for fictionalizingand indeed, last week I stumbled on Waiting
for Robert Capa, a 2011 Spanish novel that has just been translated into
English. The novel tells the story of the love affair between Capa and
Gerda Taro, a young photographer who was killed in action in the
Spanish Civil War. Its a story that was also lovingly told last year in
The Mexican Suitcase, an exhibition at the International Center for
Photography. Apparently director Michael Mann has picked up the film rights to Waiting for Robert
Capa. I look forward to reading it and will review it here in the near future.

Like darkroom photography, Magnum itself is

undergoing a paradigm shift. As media space for
in-depth photojournalism decreases,
photographers are looking elsewhere for venues
for their work. Agencies like Magnum are having
to get creative about projects, partnering with
nonprofits and corporate sponsors. But still,
Magnum survives and its nice to think of Inirio
toiling away in the Magnum darkroom, continuing
a tradition that started in 1947 with the first
Magnum office.

158 comments on Magnum and the Dying Art of

Darkroom Printing
propagandaphotos
February 17, 2012

A very interesting post the demise of darkrooms is a major problem. Its getting very difficult
(and expensive) to do anything other than digital these days which is a real shame.
Another interesting book about Capa that I came about completely by chance in a 2nd hand
bookshop is A Russian Journal by Steinbeck. A memorable insight into Capas personal bathing
habits.
Reply
Nate Matos (@NMatosPDX)
May 30, 2013

I disagree that it is getting very difficult (and expensive). Shooting film and printing in the
darkroom is no harder than it ever has been. And it is actually cheaper than it ever has been as
well. I have two enlargers in my home darkroom, I paid $75 for the pair. Brand new I would
have been looking at close to $2,000 and they arent even that old!
Reply
sarahjcoleman
May 31, 2013

Good for you, Nate!

Maria Markus
November 24, 2014

My husband Kurt Markus is in the middle of building his next darkroom here in Santa Fe.
He pulled apart one of the two darkrooms in his studio in Montana
and has set it up down here. Kurt is very happy. While everyone is going digital Kurt is still
printing the best photographs of his life. Both our sons Weston and Ian are photographers
and they love to print their own photographs..
sarahjcoleman
November 24, 2014

This is a great story, thanks!

liz
December 5, 2014

Disagree! I am a photography teacher. The cost of film is going up exponentially every few
months and all things darkroom are getting harder to come by!
John Jordan (@johnjordansnaps)
November 5, 2014

Great to hear voices from the darkroom. Nothing replaces the magic of seeing an image come
to life in the developer tray. Its great to see the intricate little diagrams for dodging and
burning.
Reply
Jimi Meldrum
February 18, 2012

Keep printing on photographic paper and shooting film! We must not let this die!
Reply
emmer
February 24, 2012

Viva la darkroom revolution! Cheaper paper would be a big help though!! Come on people,
there is nothing like the smell of chemical vinegar on your hands!!
Reply
Bryan Myhr
September 12, 2013

All the cows used for the gelatin will die though. Maybe try collodion?
Reply
Jim Meldrum
September 12, 2013

So true! I am bitterly upset that film labs are closing left and right, frequently because their
owners complain they are not able to make a profit when they were never intended to
make a profit, just contribute, as in the case of one hour labs that are part of lager entities
like a grocery store.
Steve Ducharme
October 23, 2013

(Heres a duplicate of mu comment on another films demise)

Cant speak for the darkroom exactly but I just bought a Polaroid Land 350 and a dozen or so
boxes of (brand new) Fuji 100 and 3000 film and I am having a total blast! Always a curiosity to
onlookers and at parties, ridiculously affordable and amazingly cool shots and it scans really
well if you want to tweak and post. Maybe Im going backwards but at the moment its a lot
more fun than forward. Ive got an SX70 on the way and several boxes of film from the
Impossible Project. Long live film.
Reply
Josh Sisk
February 24, 2012

Really interesting post. Do you have that interview you mentioned up anywhere?
Reply
sarahjcoleman
February 24, 2012

Josh: Sadly, no. For various reasons, the interview never made it online. But this post has been
so popular that I might try to dig up my notes and do something more with them. Thanks for
reading!
Reply
Barry Cawston
February 24, 2012

Enjoyed the article but I think that there will be something of a revival in traditional darkroom
printing as a natural balance to the age of digital. The craft and artifact inherent in the traditional
darkroom process will become I think particularly sort after in the Art Market.
Reply
Bob Perkins
February 24, 2012

I just want to note that there are still places where young people are learning traditional
darkroom skills. Although many high schools are struggling to justify the cost of film
programs, places like Youth in Focus in Seattle (youthinfocus.org), where I work, as well as a
handful of similar programs elsewhere, are creating passionate young film photographers (as
well as digital photographers) every day!
Reply
Skye
November 8, 2014

I was a student at YIF for 2 or so years and you and all that everyone does there helped me
turn my life around and find something I truly loved and cared about. Still shooting film,
though not as much as Id like to but its something for myself I am trying to preserve so
thank you for that
its a beautiful gift and I hope darkroom never dies
Ed Buziak
February 28, 2012

Have to agree with you Barry. I published Darkroom User magazine for seven years back in
the 1990s, but it was a labor of love (a pleasant one, mind you) although one I was passionate
about having hand-processed more than 10,000 films during my darkroom days and
undoubtedly a number at least two or three times that in sheets of paper during my 35 years of
wet-darkroom work. Ive been numerique for a decade in France through necessity, rather
than choice, but I still miss the Zen-like silence when working under the red glow.
Just a few days ago I decided to re-publish as many articles that are still relevant having been
originally published in the old Darkroom User magazine they will probably all have to be
my images and articles as certain writers I used back then would want paying again a decade
or more later. So far I have put two articles up, on Agfa Rodinal and (this morning as it
happens) Bulk-film loading. Click over to http://darkroomuser.wordpress.com/ if you
are interested as there will be many more darkroom articles to follow on a wide variety of
subjects in the coming weeks ;~)
Reply
Trevor Olner
November 25, 2014

Great that you have put articles from Darkroom User on line Ed. Thank you
Labyrinth Photographic

February 24, 2012

http://www.labyrinthphotographic.co.uk/a-year-in-development-exhibition-february-2012/
more darkroom resistance!
Reply
Shannon
February 24, 2012

Agree with Barry. There seems to be a resurgence in film use in general thanks in part to toy
cameras (Holgas, etc) and potentially that same interest in hands-on work in the darkroom.
Reply
Toby Deveson
February 28, 2012

The smell that comes out of the tank as the water goes in for the first timeto me like freshly
baked bread.
Reply
Toby Deveson
February 28, 2012

whoops replied to wrong post! apologies

Scheryle Simmons Reuss
February 24, 2012

developing film is one of the best highs ever.i hope it will always be around.
Reply
Marco Bell
February 24, 2012

Great post! I just translated it to spanish. You can find it on my photoblog:

http://marcobellphotoblog.tumblr.com/post/18202136330/magnum-photo-y-el-moribundo-artedel-laboratorio#disqus_thread
Reply
jose
February 24, 2012

Mr Ansel Adams didnt scratch a picture that way.

He used to wait for the right moment. (or even comeback and try it again)
And even not having the choice (surpluss) we have enjoyed concerning films, papers and
chemistry his negs and prints show us what means concerned!!!
Reply
sarahjcoleman
February 27, 2012

Jose: Well, Ansel Adams did once famously remark that the negative is the score; the print is
the performance. Although his negatives were amazingly well exposed I believe he did do a
fair bit of manipulation in the darkroom too.
Reply
tim bell
September 20, 2013

Right you are-look up the zone system he developed-I use the same principles in my
fully digital work now.
Toby Deveson
February 28, 2012

To not manipulate a neg in the darkroom would in itself be a crime careless and lazy there
is no way a negative can lead to a perfect unmanipualted print each time. Dodging and
burning are basic and necessary As Sarah says below, the negative is the score; the print is
the performance

An artist will naturally seek improvement and perfection. A straight print would never fulfil.
Infact the few times I have had a perfect print I have felt cheated and unsatisfied like I
have missed something.
Reply
Paul Kiss
June 14, 2013

Which brings us to the current debate about (digital) manipulation in photojournalism,

which in my view is no different to working in the darkroom:
http://www.10bphotography.com/index.php?page=ethic&lang=eng
Edward
September 21, 2013

Interesting that you have such an opinion. Ive personally seen Adams negs and I can assure
you that, even though he was a great photographer, it was his printing skills that made his
reputation. I doubt that there is such a think as a straight Adams print. He also created
detailed notes about how to print each neg.
Reply
Michael Clark
November 10, 2013

Youve got to be kidding. Look at the variation and development of the series of over 1000
prints that Adams printed himself over several decades after he photographed Moonrise,
Hernandez, Mexico in 1941. The prints considered definitive werent produced until the 1960s
by which time Adams, in addition to the various dodging and burning recipes he had
experimented with, had applied several chemical processes to the negative to darken the sky.
He raised dodging and burning to a high art form in the middle 20th century.
Reply
Uwe
February 24, 2012

I actually wonder how someone can possibly understand if they never had their hands on film?

@propagandaphotos Agree. Russian Journal is an excellent read.

I dare to say that the number of darkrooms has increased. Because it is not easy to operate
economically viable many may find some space in their own premises.
I am not yet convinced that darkroom work itself is on the demise. I agree that the days of film in
PJ are over.
Reply
Kaushal Kumar Singh
February 24, 2012

What ever the situation I will keep shooting film till the nearest lab keeps it developing.
http://kaushalsingh.wordpress.com/
Reply
kilroy metters
February 25, 2012

the solitude of the darkroom was something i enjoyed and now sorely
miss..shooting,developing and printing were the holy trinity..plus being in the darkroom
with your honey could also be special but in the end its the finish product that counts not the
means to that end
Reply
Joe Holmes
February 26, 2012

Great post. Where can I see more of those marked-up guide prints? If theyre from a book, Id love
to pick up a copy
Reply
sarahjcoleman
February 27, 2012

Thanks, Joe. The guide prints are not from a book. Theyre exclusive to this blog post. Pablo
shared them with me when I met him at Magnum a few years back.
Reply

Nasir Hamid
February 26, 2012

Thanks for such a great post. There isnt enough behind the scenes stuff like this for so many
iconic images out there.
I love to shoot film and Ive been stocking up on it just in case it becomes harder to find. I need a
bigger freezer!
Photo blog: http://www.simplyoxford.com
Long live film.
Reply
Sweeney
February 26, 2012

Ansel Adams has time to wait for the perfect light, which he knew how to use it. Photojournalism
is on the fly. I konw both, and as an assistant spent two years in the darkroom. processing and
printing, didnt love it at the time but until digital it was the best way to learn b&w printing.
Would like to start it again, the equipment is in the attic getting dusty! Maybe some day.
Reply
gary gumanow
February 27, 2012

Saying that its dying in your title just continues the perception that it is. But it very much still
alive at least in my darkroom. Nice post.
Reply
JULIO ROTONDI
February 27, 2012

Darkroom, it never dies.

Reply
Toby Deveson
February 28, 2012

Brilliant artcle, fantastic to read it and heartening to find people who feel the same as I head to my
own darkroom to start printing for an exhibition in London. Please consider yourselves all invited
details on my website
Reply
James E. Meldrum
February 28, 2012

For Joe Holmes and others with similar interests:

Check out the following book which has marked up prints like those on this blog showing
exposure times for dodging and burning. Like all of you, I haven no intention of giving up either
film or my b/w darkroom any time soon.
Black & White Photo-Lab
Processing and Printing
Juline Busselle
Silver Pixel Press, 2000
ISBN: 1-883403-67-7
Reply
Gary O'Brien
March 3, 2012

The marked up prints are quite interesting. When printing in the digital realm, the masks on
adjustment layers look very much the same many layers for many subtle, nuanced tweaks of the
image.
Ive read that W. Eugene Smith would make a copy negative of a perfect print, then print that
negative. With the layered file, that perfect print can be reproduced over and over, and even reinterpreted. Ive seen several different versions of some of Ansel Adams iconic images, printed in
surprisingly different ways.
Great discussion, and great article. Thanks for your hard work on this blog.

Gary OBrien
Photographer
Tucson, AZ

Reply
Carlos
March 4, 2012

Gary please go home with your digital rhetoric, VIVA FILM FOREVER!
Reply
Coline Termash
March 7, 2012

Reblogged this on PRONAOS.

Reply
Pingback: Magnum Leica Camera Russia Blog
Thomas Bertilsson
April 12, 2012

Wonderful article. Mr Inirio should be respected in the darkroom world as a very rare and
dedicated personality, who goes way above and beyond whats normally achieved in a darkroom.
Printing negatives that were exposed in less than ideal lighting conditions, often quickly and on
the fly, without proper metering. Its just incredibly difficult to make such negatives look that
good! A few other printers come to mind; Sid Kaplan who printed for Henri Cartier-Bresson, or
how about Gene Nokon who taught Yusuf Karsh a thing or two about f-stop printing? Theres a
marvel in Toronto by the name of Bob Carnie, who is a really talented and amazing darkroom
printer, but its a bit of a dying breed.
My hope is that articles such as this will spur an interest in the art of printing silver gelatin in a
darkroom. There are lots of people shooting film these days, but not very many who do anything
other than scanning that film and then work with them in the digital domain. Nothing wrong
with that, but we need more printers to keep raw materials for production of silver gelatin papers
viable and available.
If youre curious about darkroom printing find a way of doing it! It is tremendously rewarding,
and one of those labors of love that keep getting better every time you do it.
Thomas Bertilsson
Photographer
St Paul, Minnesota
Reply
Jono

April 24, 2012

Can anybody explain the printing notes? I can make out fractions but do these represent burning
and dodging times? If so, how would you action all these adjustments when making a print?
I develop my own film and recently purchased all that I need for the dark room but have
nowhere in the house to set it all up
I cant wait to do my own printing!
Reply
Thomas Bertilsson
April 25, 2012

Im a hack compared to Mr. Inirio, but use print maps just like his in my darkroom when I
print. You have to, because theres no way to remember it.
Notes in the map could have to do with contrast grades as well as times for dodging and
burning, although Im doubtful Mr. Inirio used variable contrast papers when he made those
prints.
Its all about having a critical eye when you print. Tonal values are chosen carefully to support
the content of the print, and making whats important stand out while toning down what isnt.
You have to remember that a lot of the negatives that someone who prints for Magnum uses
are often exposed in less than ideal lighting, probably not metered perfectly (or at all) because
its a matter of capturing a moment that will disappear quickly. You could even be dealing
with push processed film, which is a printers worst nightmare to eke shadow detail out of. In
short, many of the negatives are just incredibly difficult to print. If you have the time to set up
lighting in a studio, or carefully meter a scene youre photographing, a lot less darkroom
gymnastics are required to reach desirable results. While you should always maintain a highly
critical eye, and never settle for anything less than the very best you can achieve, what you see
in the article above is pretty extreme by my experience.
My respect for printers such as Pablo Inirio, Gene Nokon, Sid Kaplan, Keith Taylor, Bob
Carnie, etc grows as I accumulate more darkroom knowledge myself. It is nothing short of
amazing what they can achieve, and as artists we should all aspire to their level, or perhaps
even aspire to being better, to forward the art of darkroom printing, and safeguard it for future
generations to enjoy.
Reply
Jim Meldrum
April 25, 2012

Tom, I have to agree with you 100%.

Thomas Bertilsson
April 26, 2012

I forgot to mention that often with difficult negatives there are lots of techniques employed
to eke the very maximum out of them, such as flashing the paper, building masks,
tweaking the paper developer to adjust print contrast in between individual paper grades.
You can use techniques of diffusion for effect, and use burning- and dodging tools to flash
just parts of the paper, etc etc etc. There is a lot to know about silver gelatin printing that
most people dont even know about (including myself).
If youre truly interested in the mechanics, as well as the art of printing, I highly
recommend Ralph Lambrechts book Way Beyond Monochrome. It is a fantastic piece of
literature that discusses nearly every aspect of b&w printing.
I will also say that it is very hard to relate all of the text to real world results until you
actually start printing in the darkroom. Hands on, get down to business and just start
printing. Find a way of doing it, and experience the joy and magic of watching your efforts
appear before your eyes in the developer tray.
sarahjcoleman
April 25, 2012

Hi Jono, Im not sure how Pablo does all of his burning and dodging on these prints during the
exposure time. I do recall that he had a lot of handmade dodging tools of various sizes, and
theoretically one could hold three or four of them at the same time. Even so, it must require an
enormous amount of concentration to create a series of prints from these specs!
Good luck setting up your darkroom at home!
Reply
Paul Rigas
August 24, 2012

http://online.wsj.com/article/SB10000872396390444812704577607700939340864.html
Reply
margarethollandadams
September 6, 2012

I teach an advance B&W printing class at the corcoran we mix chems from scratch,
and I really love being able to give an example of a true printer.
Reply
pegappp
September 9, 2012

Wonderful post.
Reply
sarahjcoleman
September 9, 2012

Thanks so much! This has been a very popular post. Thanks for reading, and please send the URL
to anyone you think might be interested!
Reply
Farah Mahbub
October 21, 2012

Reblogged this on INCOGNITO and commented:

here is a reminder of the good old days sometimes I miss them the care free attitude and
the luxury of time that came with it on a good day I managed to print five final prints. Now I
would not even dream to go back to a darkroom to print mostly because I do feel differently for
water so precious and time even more precious.
Reply
Peter Bruce photo
March 16, 2013

why does hollywood still shoot movies on film,when they could cut cost and not. simply itis
better and always will be
Peter Bruce Photo
Reply
Jeff Moore
May 17, 2013

Because you cant replicate the feel of film with pixels !

Reply
Jeff Moore
May 17, 2013

http://www.silverprint.co.uk/ In London say Film and Chemicals sale up by 100% in the last two
years .
Reply
Randy Moe
June 7, 2013

Building my new, with cheap used equipment, LARGE darkroom as fast as I can. Finally I can
afford all the stuff I ever wanted! Just wait, as the idiots throw it all away, the inevitable comeback
of analog will surprise the tossers.
Reply
Paul Kiss
June 14, 2013

A friend sent me this link in an email (as I still have my darkroom & love very much to print now
& then Im not bad at it!) after finally getting time to sit down & look properly at it I thought I
would post my email reply to him here:
Begin forwarded message:
From: Paul Kiss
Subject: Re: Magnum and the Dying Art of Darkroom Printing | the literate lens
Date: 15 June 2013 12:32:24 AM AEST
To: Mark Munro
Looking at it now. fascinating images, and glad that they can be enlarged. The notations on
them are mind-boggling. Look at the nuances in Audrey Hepburns face thats getting right
down to it. Funny, but Im starting to think that achieving similar (at least half-way similar) is
actually easier on a computer than in the darkroom! I start with the scanned Tiff, get it overall
right in Camera Raw (just seems easier than in Photoshop), then in Photoshop itself I do the finer

things with selections & layers & working on finer things like faces & so on. Costs money in the
darkroom, and patience, which I find I dont have a lot of anymore, and a general unwillingness
to spend a whole days daylight in the dark. Doesnt mean I dont enjoy it now & then though.
You know, not so long back I mightve said the opposite, that I cant do on the computer what I
can in the darkroom. but with time you learn how, like anything ;)))
http://anntornkvist.blogspot.com.au/2008/12/ninety-hours-in-darkness.html
Reply
sarahjcoleman
June 14, 2013

Thanks for this, Paul. I think your points about the cost of darkroom printing and also the
reluctance to give up daylight are very apt also there is the environmental factor to consider
with darkroom chemicals. But it sure was a lot more romantic than tapping on a keyboard!
Reply
Thomasb
June 14, 2013

I think the environmental aspects of darkroom use versus digital photography

environmental foot print needs to be fact checked.
Do you know how much it pollutes to make a digital camera, printer, computer screen, and
computers? They use chemicals that will kill you within minutes of exposure. And,
cameras and equipment is obsolete about every two or three years, adding techno trash to
an already insurmountable heap of it.
Chemicals used in photographic processes are, for the most part, benign in comparison to
things like household cleaners and laundry detergent.
I am very grateful for this thread, because it highlights that the art of darkroom printing is
actually still alive! And I, as a darkroom printer feel very lonely in this digital world. Can
we keep the topic surrounding that, and not how easy it is to do the same thing on a
computer? Please. I beg you. There is very little left to be happy about as a darkroom rat.
Paul Kiss
June 14, 2013

I hear you Sarah. and I hear you too Thomas Bertilsson

Wasnt really my intention to
rave on about how easy it is. I can tell you this: as long as I have in my possession all the
negatives Ive made up til now, irrespective of whether or not I make any more in the
future, I will ALWAYS maintain a facility in which to print them (and I should point out
that my darkroom is actually my kitchen, thoughtfully set up so that I can
easily/safely/cleanly convert everything for printing cooking, which are in fact very
similar activities dont you know not that I do much cooking).
sarahjcoleman
June 14, 2013

Good point, Thomas (about the relative toxicity of darkroom chemicals, computer
manufacturing chemicals and household cleaning fluids). Do you know if anyone has ever
studied this? I believe you but it would be interesting to see a comparison study. When Im less
tired Ill take a look online. But thats a digression. For my part, Im happy to keep this thread
going as a discussion for darkroom printers. From the passionate responses it has engendered,
and from the way the URL continues to be tweeted, forwarded and reblogged, I know there
are many of you out there!
Reply
Paul Kiss
June 14, 2013

And, I must admit, I did prefer Agfa paper too

Reply
jbaphoto
September 12, 2013

I still do this as my only way of making prints. My womb room has three enlargers, 108 and
108 DeVeres and 35mm Leitz. The wet side has a set of deep film dev tanks using D76d mixed
in May 1985 and replenished ever since.
Reply
jbaphoto
September 12, 2013

Opps. second enlarger listed should read 54

Reply
sarahjcoleman
September 12, 2013

Good for you, John! Out of interest, why have you chosen this path?
Reply
Thomas Bertilsson
September 13, 2013

I am not John, obviously, but my approach is very similar to his (I think).

I dont own a digital camera. The reason is that I just like darkroom work better. It makes
me happy. Digital doesnt. Its entirely personal, so I dont knock those that enjoy digital
work flow. But it bores me to tears.
In the darkroom I can aptly focus on what I want to express, without distractions. The
output is what I want my prints to look like, so for me its also a matter of dont fix what
isnt broken, and just continue doing what I enjoy instead of forcing something that I do
not enjoy. It really is as simple as that.
In the darkroom Im happy. To watch it all come together in front of my eyes, by doing
something tangible, is magic to me. Its equally great every time. My negatives have been
carefully exposed and processed so that they fit the tonality of my paper and paper
developer. That takes a lot of the grief out of printing, because it really is a system. When
all of the individual pieces click together like cogs on a wheel in a transmission line, its just
beautiful and I feel like Im in total control of the work flow. That gives me tremendous
satisfaction.
sarahjcoleman
September 26, 2013

Thanks for this, Thomas. It is interesting to me because I used to enjoy darkroom work a
lot, and once the digital revolution happened, it took the fun out of photography for me.
Im slightly old-fashioned and technologically challenged, and these days I just take digital
snaps of the kids (as artfully as possible, of course!) But youve inspired me to think that I
should dust off the old analog camera and do some darkroom work again!
doncraigphoto
September 12, 2013

You have to wonder whether todays young photographers will rhapsodize as much about the
first time they color-calibrated their monitors.
Really? We all know this isnt a good analogy. In fact, its a cheap shot. There is a place for both
film and digital photography, and I certainly hope that film continues to be shot. But,
developing digital images has only a small amount to do with monitor calibration. Optimizing
your photos, and your vision, requires a solid understanding of the development process, be it
film or digital.
Thanks for the article. Well worth the read (cheap shots aside).
Reply
sarahjcoleman
September 12, 2013

Point taken, Don, and thanks for the feedback. It was a shorthand way of saying that theres no
direct equivalent of that slow emergence of a print in developing fluid, the process that so
fondly remembered by the film generation. I hope youll check out the rest of the blog and
continue reading I have lots of interesting content lined up for the fall!
Reply
Jim Meldrum
September 12, 2013

The problem is that whether we like it or not, film labs are closing left and right and there
are fewer people doing their own printing. I love doing my own printing but I cant help
but wonder how long it will be possible to do so.
Morgan O'Donovan
September 12, 2013

And if you want to get into 54 then MOD54 is around.

http://www.mod54.com
Reply
Foukographer
September 12, 2013

Whats fascinating also and very revealing about our change of practice is the importance given to
the Single Killer Shot over the overall quality of a series. Nowadays, most of us spend much less
time editing a single image and end up showing a series of shots.
Look at the pics edited here, the man probably spent a whole day on getting ONE picture right.
But these images here are definitely iconic. So iconic it hurts.
Reply
Thomas Bertilsson
September 13, 2013

I dont wish to sound negative (no pun intended), but how do you know how much time the
printer spends on getting one print just right? You are assuming. As a printer for a place like
Magnum, I would rather expect a rather copious volume of requests coming through, leaving
little room to work for a whole day on a single negative, (but then again, I am assuming too).
I know many darkroom printers who work with batches. They make proof prints of many
negatives, live with them for a while, mark them up, and then go into the darkroom to print
work prints. Looking at those for a while, a final stint in the darkroom gives the final iteration.
The volume can be very large, but it takes longer.
Then I know darkroom printers who go into the darkroom focusing on their most difficult
negative/print. After theyre happy with that one, theyre properly in the groove, and can
crank out the easier ones at a much faster rate.
I agree the pictures are iconic. The bloopers never made it public, though
Reply
sarahjcoleman
September 14, 2013

Thanks for this, Thomas. I dont think Pablo Inirio is printing in batches. I spent some time
with him, and he told me that for the most part, hes making prints for exhibitions, private
sales and book publications. When he prints from a dead photographers estate (CartierBresson, for example), he examines an original print very closely to determine what the
photographers intentions were with the print. Im guessing that Magnum printers who
want an edition of a print made might go elsewhere. Inirios darkroom is fairly small and
specialized.
Bob
September 13, 2013

Film photography and the darkroom are good therapy at least for me. I have used film since I
was knee high to a grasshopper well not really, but since jr. high anyway. I appreciate this
article because I too am a darkroom printer. I strive for archival fibre prints that are acceptable to
galleries and collectors. So I appreciate people who still admire and more importantly use film.
We need to support the companies, i.e., Ilford, that offer the products.
http://stcyrphoto.blogspot.com/
Reply
josephine shields
September 13, 2013

Almost every Thursday night from September through July, I have a class of 6-10 students who
meet. This is the Brookline (MA) Adult Education Creative Darkroom. We are one of the few
(maybe only) public darkrooms still operating in the Boston area. All I can add is that the fine art
of black and white printing is well and thriving in this group of highly creative individuals whose
ages range from 20-somethings to 88 years. My students talk about the magic of the darkroom
and work with a lot of alternative processes and scour the planet for old cameras.
We participate in community arts festivals and we encounter so many people who dont grasp the
fact that there is film and paper and cameras that dont do everything for you. And that one may
have to work to produce a print. Yes, film and paper are alive.
Reply
sarahjcoleman
September 14, 2013

Great! Thanks for sharing, this sounds like a great community and a great resource.
Reply
Jay Goldman
September 22, 2013

If your students are looking for old cameras, are they aware of the Photographica shows
http://phsne.org/shows.html
PHSNE (Photographic Historical Society of New England) has many members with
knowledge of alternative darkroom work and older cameras.

http://www.phsne.org
In November and December our meetings will be in Newton Highlands near the Newton
Highlands stop on the D line, which is very convenient for Brookline residents.
Reply
sarahjcoleman
September 26, 2013

Thanks for this, Jay!

josephine shields
September 26, 2013

Thank you Jay. I passed the info on to my students. Tonight will be our first class of the
semester and I am sure that there will be a discussion about this thread.
david blanchard
September 14, 2013

Ilford is opening a new black and white processing lab in California! http://www.ilfordlabus.com/ Even though I work mostly with digital for convenience, I still much prefer film and
working in the darkroom. And two Sierra College campuses (Rocklin and Grass Valley CA) still
have darkrooms and teach students film and darkroom processes.
Reply
Chris
September 14, 2013

I dont think darkroom prints are a dying art. In fact, my stepdaughter has just started a class in
her high school on black and white film and darkroom printing. Im setting my darkroom up as
we speak. (had to tear it down to move to another state). So there is a new generation who may in
fact enjoy it just as much as us old farts do.
Reply
sarahjcoleman
September 14, 2013

Thanks, Chris. Your last statement may be true, and certainly, the number of people whove
responded to this article shows that people care very much about darkroom printing. But
because of the behavior of large industrial players like Kodak and Agfa (who can only survive
if they dominate the market), I think the evidence suggests that although silver gelatin will
survive, it will become an artistic/alternative process, along with the other alternative
processes like collodion and tintype that are experiencing something of a revival. But survive it
will, in some form. I wish you and your stepdaughter happy printing!
Reply
romeoshagba
September 15, 2013

Reblogged this on Romeo.Shoots.Photos .

Reply
sarahjcoleman
October 17, 2013

Thanks, Romeo!
Reply
nadiacjones
September 17, 2013

Reblogged this on the-wild-literary and commented:

How fascinating. Old trades are just as fantastic as new ones.
Reply
sarahjcoleman
September 17, 2013

Thank you Nadia!

Reply
Gary Haigh

September 22, 2013

As an amateur photographer I can and do still print in the darkroom. It is not expensive for me
and I am on a pension. I like the depth of my darkroom prints whatever that means. So do those
who know my work.
Reply
Barry Kidd
October 11, 2013

I use to develop my own black and white film as well as prints but I never did learn how to do
color.
Back in the late 70s and early 80s Id even dodge and burn my prints a bit here and there but
never anything that was as sophisticated at this.
With me It was just playing around and thinking I was cool. The shots above? WOW!
I made the switch to digital in 2005 and shot my last roll of film in 2008.
Reply
Dawn Lerman
November 1, 2013

I have such fond memories of high school photography . I loved spending time in the dark room
developing pictures and playing with different exposures. Thanks for sharing this post
Reply
lofieye
December 29, 2013

Reblogged this on lofieye.

Reply
sarahjcoleman
December 29, 2013

Thanks!
Reply
taylormahoney
December 29, 2013

I work in a professional darkroom making prints for fine-artists, hobbyists and the occasional
retired magnum photog. I also have a small set up at home, it is only dead/dying because people
are letting it. I have offered my facilities to tons of photog friends who claim i miss film, im
gonna do it again, can I use your darkroom? none have ever showed up to use it
Reply
sarahjcoleman
December 29, 2013

Thanks, Taylor, thats interesting. I think the nostalgia factor is high, but as you say, theres a
difference between being nostalgic and actually getting back into the darkroom! However, if
you look on the comments thread on this post, there are some encouraging stories of
community darkrooms being started and enjoyed.
Reply
tincancollege
December 29, 2013

Today I had a guest in my new darkroom. He wanted to process his 1114 B&W slides into 1114
contact positive prints. At first I thought he was goofy, but the double reversal process works and
is darn simple. I think I am going to do some in camera paper reverse positives very soon.
Learned something new, in my new darkroom!
Reply
sarahjcoleman
December 29, 2013

Yay! Good for you. Hope the experiments go well!

Reply
tincancollege
December 29, 2013

The proof is drying on my screens right now!

chr15cr055
January 1, 2014

Reblogged this on Wandering the Hall and commented:

How I wish that I could talk to the people who thrived during the Magnum heydays. sooo
much knowledge
Reply
sarahjcoleman
January 1, 2014

Thanks for reblogging, chr15cro055! Although we can (sadly) no longer talk to the Magnum
founders and early members, at least some of them left memoirs and interviews. I also
recommend the Russell Miller book I mentioned in the piece, Magnum: Fifty Years at the
Frontline of History. Also possibly of interest is this book of Magnum contact sheets:
http://www.amazon.com/Magnum-Contact-Sheets-Kristen-Lubben/dp/0500543992
Reply
tincancollege
January 1, 2014

So much lost knowledge, a lot of photo processing history is lost, from not sharing, secrets, too
busy, we have forgotten muchat least now we are trying to document on the Internet. But I find
photo forums are filled with dead links, no longer available images and confusion. Even eBay
deletes the history of sales and images, losing much valuable info.
Reply
K C Towers
January 17, 2014

This is one of the most interesting articles I have read in a long time. It may very well squash the
idea that SOOC images are best in todays digital era when in fact the electronic darkroom is just
as important to the quest for a great image and an amazing print as ever they have been. Maybe

the skills needed to do this have changed somewhat from the wet darkroom skill, but they are
nonetheless required. I shoot only RAW and mainly b/w and try to honour the processing skills of
the past as much as is possible. Just looking through a collection of magnum books will inspire (or
should) any budding photographer in the digital era to get it as good as they can, and even now I
have just passed my 70th birthday, the more I can learn about the digital darkroom the better I like
it.
Reply
Thomas Bertilsson
January 17, 2014

Im very happy that you still look at the final output as a print. My friends and I are a group of
about 12 photographers from around the Twin Cities, Minnesota, and while most of us are
very passionate darkroom printers, our only qualification for participating in our quarterly (or
so) group shows, is to be submitting the very best prints we are able to make, whether made
digitally or with darkroom means.
It is so nice to read a comment from a digital shooter that isnt afraid of paying respect to the
history of photography, and I wish more exchange between photographers could be based on
respect, and discussion about the resulting photographs more than the process of how they
were made. It is, after all, the pictures that are important.
Reply
K C Towers
January 17, 2014

Thank you for your reply! Firstly, whether a digital or a film shooter (and I was a film
shooter long before I converted to digital) we share the same fantastic craft. I am an end
product man, so I am not entrenched in any one method or way of getting the image. I just
like the image full stop. And I like a well printed image that has taken a lot of patience and
care to produce (OK I am partial to a good silver halide print on top quality rag for sure).
But to get the vision interpreted in print, or even on a computer screen for that matter, it
takes some thought, skill, and a good bit of time in the darkroom whether wet or dry. I
have a dozen or so b/w prints around my house that were printed from digital at a pro lab
and they look stunning I have to say. I now print in book format my yearly portfolio and
work towards the best I can get from that media. Long live photography in its best light!
paullynv
August 23, 2014

Reblogged this on PAULLYN GRACE and commented:

This makes me miss the darkroom times back in high school.
Reply
sarahjcoleman
August 23, 2014

Thanks Paullyn! Its true, things are not the same any more
Reply
Pat Mullan
September 24, 2014

I have never been fortunate enough to shoot with film. I wont live to regret digital but after
reading this very interesting article with responses, i think its time i look further into this subject
matter. I feel somewhat out of my dept in this tread but i know that i have always found Black and
White images much more interesting to look at. Thank you for educating me on another way
forward.
Kind Regards
Patrick.
Reply
sarahjcoleman
September 26, 2014

Youre welcome, Patrick! Thanks for taking the time to comment, and happy shooting!
Reply
Erik Beringen
September 26, 2014

Recently I went to a camera store that still sells film and darkroom materials. (I am currently in the
process of setting up my own so as to venture back into black and white.) Stocks of chemicals and
paper were dishearteningly low but when told that a school had only that morning bought up big
on supplies for use in the students darkroom I couldnt help but feel glad that there is a new
generation of film shooters coming along. Film has had a rough time, but it certainly isnt dead
yet!

Reply
sarahjcoleman
September 26, 2014

Youre right, Erik. Film will not die; it will simply become another alternative process, along
with the likes of collodion and tintype and dye transfer. Good luck setting up your darkroom! I
miss mine.
Reply
Analoguey
September 28, 2014

Reblogged this on Analoguey pictures and commented:

Some reading on Printing, while I sum up my own thoughts on the darkroom
Reply
sarahjcoleman
September 28, 2014

Thanks!
Reply
Analoguey
October 8, 2014

Pleasure!
This will be one of those reads that I will be also consulting as a quickguide in my
darkroom!
Manuel Vilar de Macedo
September 29, 2014

Reblogged this on Nmero f/ and commented:

No costumo fazer isto, mas este artigo merece ser republicado pelo seu interesse. Leiam com
ateno especialmente a parte em que o autor se interroga se os jovens que calibram as cores do

seu monitor pela primeira vez sentem a mesma emoo que um fotgrafo que visita pela primeira
vez um laboratrio!
Reply
sarahjcoleman
September 29, 2014

Thank you! Someone translated the blog into Spanish soon after I wrote it; I dont have the
link, but if you search online you might be able to find it!
Reply
juliette
October 14, 2014

Im so glad to see these posts alive and kicking still. Long live the darkroom!
Reply
casadresden
October 14, 2014

I love to see these posts alive and kicking. Long live the darkroom!
Reply
indiakarl
October 24, 2014

analog is dead. we will deal with it.

Reply
Thomas
October 25, 2014

Thats a terrible thing to say among those who are passionate about darkroom. What could
you possibly gain from saying this?
Reply

Jim Meldrum
October 27, 2014

@Indiakarl Darkroom will never die. Your comment is really rather thoughtless.
Reply
genevievelazar
November 6, 2014

I was lucky enough to have attended one of the only schools in the UK with a big darkroom and
all sorts of equipment, thanks to my incredible teacher. Im so glad I got to have my first-pictureemerging-from-the-chemicals moment; all photographers should experience the darkroom at
some point. I only wish darkrooms were more accessible, although I do, of course, understand the
benefits of digital.
Reply
genevievelazar
November 6, 2014

Reblogged this on Pictures and Prose and commented:

Love this, if you ever have the opportunity to experience a darkroom, take it! The scribbles all
over these photographs remind me of both my own work, both literary and photographic! Never
be afraid to scribble down your ideas not only is it interesting for you to look back on but Ive
found so many second-hand books with someone elses scribbles all over them and it makes them
so much more valuable to me.
Reply
sarahjcoleman
November 6, 2014

Thanks for the reblog, Genevieve! If you like seeing scribbled ideas, you might be interested in
the new book Photographers Sketchbooks, which I reviewed in this post:
http://theliteratelens.com/2014/10/24/vegetable-peelings-revealing-the-creative-process/
Reply
Justin Lee - South African Photographer
November 24, 2014

Reblogged this on Justin Lee.

Reply
sarahjcoleman
November 24, 2014

Great, thanks Justin!

Reply
josephine shields
November 24, 2014

Happy to see that this thread is still going. I am finishing up another successful session of
advanced black and white darkroom work at Brookline (Massachusett) Adult Ed. We use the High
School darkroom and every session (4 a year) I have both new and returning students. There is
always something new to learn and I am always heartened by the creativity and passion of my
students for this beautiful art form. Sorry, Indiakarl, analog is not dead.
Reply
sarahjcoleman
November 24, 2014

Agreed, Josephine! Keep up the good work.

Reply
David Goorevitch
November 26, 2014

Wonderful post. Sure takes me back.

Reply
sarahjcoleman
November 26, 2014

Thanks for stopping by, David!

Reply
MrSatoshi
November 27, 2014

I used to have my own darkroom in Milan but now that I have moved to Melbourne, I kind of had
to enrol to Uni to have access to their one.
There is no way I will ever stop shooting film and when possible, printing in darkroom
If only I could afford a bigger place where to live, I would then have my darkroom setup again
and perhaps start teaching young kids the art of photography (the real photography).
Reply
sarahjcoleman
November 27, 2014

Good luck with your dreams!

Reply
lauriestell
November 27, 2014

Reblogged this on Laurel Stell Photography and commented:

Good information
Reply
sarahjcoleman
November 27, 2014

Thanks Laurel!
Reply
Silvio Nf
November 29, 2014

RAW? JPG? FILM!

i love it!

Reply
tintenamme
December 2, 2014

When the 3rd 4th 9th 13th and 15th place bestsellers in the photography category of Amazons
online store are all Fuji Instax items, it seems about time journalists dropped the whole film is a
dying medium thing
Reply
John Lee
December 3, 2014

Although this was originally posted two years ago. I have found it fascinating. Was a book every
published with his marked up proofs? Superb article.
Reply
sarahjcoleman
December 3, 2014

Thanks, John. Funny you should mention a book. With the recent surge of interest in this
article, Im actually thinking of a book project. Stay tuned!
Reply
John Lee
December 3, 2014

Sarah-thanks very good blog BTW. I am actually trying to build my own darkroom (and I
have also purchased a X 1 Pro:). So I shoot both. As a note I actually get stopped all the
time from young people asking about film.
P.No
January 13, 2015

After graduating from Brooks Institute in 1993, I didnt spend much time in the darkroom. In
looking back at my advertising career, it had been a hollow path for me chasing the $$$. I regret
ever leaving the b&w darkroom.
I have recently repurchase a Leica M6 and am loving film again. Film doesnt seem to be any more
expensive as it was 20 years ago(relatively speaking), just not as plentiful in your local market.
Silver prints are in a league of their own, nothing digital compares.
Try craigslist for darkroom equipment. Theres a lot out there!
Reply
Ratabrasada
January 16, 2015

Reblogged this on Caosenleche and commented:

Imgenes del trabajo de un cuarto oscuro y su habitante.
Reply
sarahfinn
February 3, 2015

I loved reading this, my 15 yr daughter is starting her A level photography course this September
and they have just made a new darkroom and studio. So jealous and glad she will be learning
both sides of Photography. It seems to be having a revival!
Reply
sarahjcoleman
February 4, 2015

Thanks for stopping by, Sarah! Yes, judging from the response to this post, Id say darkroom
printing is definitely having a revival!
Reply
Alexander Thompson
March 8, 2015

I quote Sam Clemens here in saying: Reports of my death are greatly exaggerated. I do it almost
weekly, sometimes twice, and I dont need a sacrificial print to know what to do. Its an intuitive
organic process. Come to ArtHaven in Gloucester Ma. on a Wednesday and bring film or negs,
youll see.
Reply
Jeff Haynes
March 25, 2015

Having just completed a short 8 week course on B&W dev and printing I can now appreciate the
art behind the dodging and burning that goes into making a great image. I am normally a
digital user but having an image pop-out in your dev bath is still a magic moment!
Reply
Pingback: Photoshop and its Siblings - Pixarthinking
Photography By Steve daPonte
July 19, 2015

Reblogged this on Lighthouse Camera Club.

Reply
sarahjcoleman
July 19, 2015

Thanks Steve!
Reply
Jay Johnson
August 12, 2015

I grew up in a darkroom. Outside the nostalgia, there is no way Im going back. Digital offers so
much more. We can take photos today that we never could in the film days. I do have to admit
that watching a print come up is very magical. Hey, if you enjoy film thats fine. Some still do wet
process from a hundred years ago. Thats fine if they enjoy it.
Reply
Timothy Price

August 21, 2015

Really great article. Im so happy to see this article and the article in PetaPixel that cites this blog. I
worked with film for years, got out of it for awhile and Im now back into film with a new
darkroom. I still do mostly digital for my daily blog, but film is really fun and challenging. There
has been a lot of discussions Ive been dragged into over photographers who believe shooting raw
files with digital cameras and then adjusting the raw files to get the desired image quality is
cheating. I always tell these people that its obvious they have never worked in a darkroom,
because all you do in a darkroom is manipulate the image to get the print quality you want. Your
article on Magnum and Pablo Iniro illustrate so well what Ive been telling people about working
with film and printing. Thank you so much!
Reply
sarahjcoleman
August 21, 2015

Youre very welcome! Thanks for stopping by and taking the time to comment.
Reply
Pingback: Magnum Photos Darkroom Magic | The Genesis Of Photoshop & Lightroom |
Photohangout
Amy Sanidas
October 19, 2015

Check out this 5-minute clip from The Guardian:

Artist Richard Nicholson has set out to capture these fast-disappearing spaces, photographing
darkrooms and the memories they hold across London.
http://www.riflemaker.org/s-index
Reply
Randy
November 6, 2015

Related discussion here:

http://fineartamerica.com/showmessages.php?messageid=2240258

Reply
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