There are such bags. They are called changing bags. Still, any windowless room (a pantry, a storage room, most bathrooms) will do the job with higher convenience.
If you do get a changing bag for this purpose, get the largest you can find. There are even changing tents that are much larger. They are designed for large-format photographers to load their film holders while traveling, but they are also useful for this purpose. Unfortunately the price is fairly significant.
Welcome. I think you'll find yourself to feel right at home here.
However I use HC110 with great results on Fuji Neopan 400 and TMX-TMY. You're going to get all kinds of answers as to what film/dev combo is the best. What does your local shoip have that you can afford? That's what I would start with. You won't be fixed there for life. You can always change in the future.
Oh, and welcome to the group. What's your gear kit to see if you missed anything.
Darkroom ( got a couple of rooms plus a potential 3rd idea I can darken easy enough - assuming blackbags over the windows is acceptable?)
FP4/HP5 film depending on film speed I want.
ILFORD Rapid fixer
Measuring jug and couple of shringes
Does that sound like about right?
And a thermometer.
Black bags will do as long as you can see absolutely nothing in the room if all lights are off. Turn out all the lights, and wait about 3 minutes. If you can see anything at all, the room is not dark enough for film processing (at least until the film is in the tank).
As in Camera equipment or darkroom?
Originally Posted by Christopher Walrath
Former is :-
Me Super Body
Me F Body
1 PKA 50mm primes, 2 PK 50mm primes (two 1.7's and a 2.0)
two 70-210 zooms
18-55 zoom ( this is a AF digital so wider angle if used on a film body - could only use on the A3 as it lacks the aperture ring ).
70-300 zoom ( again AF digital but has aperture ring so can use it on any body. Can use on the A3 unlike the MF lenses both of which are straight K's)
PKA 2x teleconverter.
3 tripods (1 travel, 2 full size, one lacks the ability to go portrait ).
a generic chinon flash.
and dare I say it a DSLR body (very handy where I don't have much time - which can often occur for university work).
I want to get a wide angle - something like s 28mm.
Latter is non-existant right now :P
If you're certain you don't want to print in the darkroom, but want to go the scanner route, XP2 Super is an excellent film to use. You want a different result in your negative for scanning or for darkroom printing - scanning appreciates a flatter negative, avoiding high contrast, especially with blown highlights/shadows. A punchier negative will print better in the darkroom. If you don't want to stick with the chromogenics, then you're better off making sure you tailor your negatives especially for scanning - so avoid the higher contrast films/processes. I'd also avoid grainier film - I love grainy film, but not for scanning - the results often do not live up to analogue, as grain doesn't translate to digital very well. The results you get - apart from with XP2 or another chromogenic - will also depend heavily on the type of scanner you use and the software you use with it. XP2 Super should work on pretty much any film scanner. You can also use Digital Ice, which helps with cleaning up the neg, with chromogenic film if you want to, but not with regular b&w film.
I think your decision would depend a lot on what kind of output you're predicting - I mean quantity-wise - or whether you want to get into C-41 processing - or whether you like the idea of experimenting with the other films anyway.
I've had excellent results scanning the ILFORD Delta films, developed for printing with an enlarger.
In the future I'd love to print in the darkroom and experiment but initially I just want to turn round my films quicker and have better control over them ( my last BW film wasn't printed too well - the prints messed up and they clipped a frame when cutting the negative ). I'm assuming ( correct if I'm wrong ) that printing in a darkroom instantly adds a LOT of cash to the bill compared to just developing the negs.
Ultimatly I'd like to do E-6 as well as black and white. Rather than confusing things I think it's better to stick to two processes rather than go to C-41 too unless there is a good reason to. Reason for E-6 is I want to use Fuji 64T for some things.
I don't think you'd make much of a cost savings processing E6 at home, or rather I wouldn't decide to process E6 at home purely on the basis of cost reduction. However, black & white is very worthwhile to process at home as you have far greater control of the process. E6 and C-41 development is uniform across film types for the most part.
Originally Posted by Tom Kershaw
I didn't say that wasn't possible