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  1. #11

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    I use semi-gloss white with local black panels, and several safelights (independently switchable). Since I use the space for toning in white light and some other white light tasks, it makes sense to have good light. Do not have a white bench top, though.

    Ultimately, it is your own space, and you can paint it any colour combination you like 8-)
    I feel, therefore I photograph.

  2. #12
    Anscojohn's Avatar
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    I have peg board behind the enlarger. The remainder is Kodak yellow.
    John, Mount Vernon, Virginia USA

  3. #13

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    Quote Originally Posted by RalphLambrecht View Post
    By the way, I'm not a big fan of the Thomas safelight. It bothers me to have a safelight in the middle of the room that bounces the light off the center of the ceiling. I'm always working in my own shadow that way. I like to have small safelight right above where I need them, instead.
    In 2008 I attended a John Sexton workshop and he made us all think much more about safelights than any of us probably ever had before, which was quite helpful. We discussed proper safelight testing and different types of safelights. Thomas safelights were always way out of my price range and I had always assumed they were the "best", but Mr. Sexton's opinion was that in fact they are only really safe with the vanes closed down pretty far, so in fact most people with those great Thomas safelights blasting away in their brightly lit darkrooms are likely fogging their paper even if they don't realize it. That made me feel alot better about my little 15w Kodak unit.

  4. #14

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    Here's an interesting link. This guy did a series of photos on darkrooms.

    http://www.richardnicholson.com/projects/last-one-out/

  5. #15
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    A couple of things to consider:

    1) Are you likely to be working with anyone else in this darkroom? Group darkrooms involve additional concerns, and most likely more flat black paint ;
    2) At least part of the time, you will be working in your darkroom with all the lights (not just the safelight) turned on. So it doesn't hurt to use colours and/or tones that are pleasant in the light too;
    3) Try to choose paint or other surface materials that are durable and easy to clean; and
    4) Painting an appropriate area in magnetic paint can be useful, if you like to have a place to post notes, etc.

    I would also look for low VOC paints, if you want to use your darkroom soon after painting.
    Matt

    “Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”

    Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2

  6. #16

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    The thing that bothers me about the Thomas safe lights is that they use a sodium vapor lamp, and these lamps are not particularly well suited to frequent cycling. Well, that and the fact that the bulb costs $120 to replace.:o. As for the paint color, I used an semi-matte off white for everything except the walls closest to the enlarger. These are flat black to mitigate the effects of any light leaks from the enlarger. For safelights, I have a few of the Kodak beehives fitted with 15w lamps and red filters, all wired to turn off when the enlarger's lamp is switched on.
    Frank Schifano

  7. #17
    David Brown's Avatar
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    Quote Originally Posted by ralnphot View Post
    Wasn't there a very long involved thread about this very thing in the recent past.
    http://www.apug.org/forums/forum43/7...-darkroom.html

    http://www.apug.org/forums/forum37/4...nt-colour.html

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