Dark Room Light For Screen Printing? 137 Most Correct Answers

New to film photography and want to learn more about printing your negatives? Well, here’s a beginner’s guide to the darkroom.

Even if you’re new to film photography, you’ve probably heard of a darkroom. Although you may not know exactly what a darkroom is and what it is used for. So, here’s our beginner’s guide to the darkroom and how to use it.

The main purpose of a darkroom is to print your photos the traditional way. It’s called a darkroom because it’s almost completely dark – apart from a red light called the “safe light.” This is really important as it allows you to handle the light sensitive materials required to make traditional darkroom prints.

A common misconception is that you need a darkroom to develop your own film. It is not necessary to use a darkroom to develop film. You can easily do this at home as we explain in our black and white film processing and color film processing guides.

Darkroom Equipment

When you enter a darkroom, you will come across several important pieces of equipment. All of this is necessary for it to work properly. Here we explain what these things are and what they do.

The Enlarger

An enlarger is a special type of projector that you can use to create your photo prints. As light shines through the negative, it transfers your image from the small negative and enlarges it onto your paper. It is the most important piece of equipment in the darkroom.

safety light

Security lighting turns your dark room into a red-lit darkroom. The reason you can leave that red light on without ruining your paper is that almost all saferoom papers are orthochromatic – meaning they are partially blind to red light. Therefore they can be handled under low red light without exposing them and ruining the paper.

Focus finder

A focus finder is used to help you focus on the magnifier. It’s important because if you don’t focus properly, you’ll end up with blurry prints – just like taking photos. Looking through it will magnify your image so you can see the actual grain of the negative you are printing. This helps you know when the image is in focus.

Darkroom Trays

Most darkrooms have at least 3 trays set up. They are used to hold, stop and fix the developer while printing. There will also be a laundry room. You will be moving your paper from one tray to another during the development process. They are designed to allow the chemicals to flow around the print as you gently move it. These are simple but important when it comes to darkroom printing.

print pliers

The pressure tongs allow you to move your darkroom paper through the developer, stopping and fixing trays while you process your paper. They help reduce the risk of smudges and smudges as your prints can be easily damaged from handling when wet. A set of three tongs also means you can reduce contamination between the different processing trays by allocating a set to each tray.

These are just the essential pieces of equipment you will find in a darkroom. Browse our darkroom equipment section to see the full range of kits we sell.

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One of the necessities of filming is that you need a darkroom to develop your images and make prints from your negatives. One of the best places to set up a darkroom in your home is in the garage. It has few windows and can be easily cleaned when dirty. What do you need to build a darkroom in your garage?

The materials needed to build a decent darkroom will depend on the size of your garage and the volume of photos to be developed. Putting all these items together can be tedious, but don’t worry. Follow the steps below to set up a highly functional darkroom in your garage for developing your images and making photographic prints.

Organize and clean up dust and dirt before you start

A garage is a place that could be filled with additional furniture or boxes for storage or from a recent (or sometimes not so recent) move. Old sofas and boxes should be removed or thrown away to create a larger space. Things like old furniture will throw dust or dust mites into the air and could potentially ruin chemical baths, films, or your prints. Protecting your chemicals and negatives is paramount during the initial and delicate stages. Items that should be removed from your garage are:

Sofas – When sofas sit, they pick up all kinds of dander and dust. Sitting for too long can cause mold to form, contaminating the darkroom.

– When sofas sit, they pick up all kinds of dander and dust. Sitting for too long can cause mold to form, contaminating the darkroom. Lawn Mower – A large mower will bring in all kinds of dust and grass if it shares the same space as the darkroom. Remove or clean it before taking it to the workshop.

– A large lawnmower will bring in all kinds of dust and grass if it shares the same space as the darkroom. Remove or clean it before taking it to the workshop. Cartons – Dust settles on cartons and causes problems for the development process.

Dust settles on cardboard and causes problems for the development process. Woodworking Tools – Anything that brings in or houses sawdust also needs to be cleaned or stored elsewhere.

Every workshop will have a specific problem, but whatever it is, take the time to clean and remove anything that might be hindering the development process. You’ll be thankful you got the job done now instead of causing problems later. Using a vacuum or broom can help remove dirt and debris from this area.

Measure and prepare the room

Taking the time to make sure there is room for everything you need when the tools and storage are moved to their other rooms. Moving items around after creating a room by hanging plastic will be troublesome. Match everything up before you start darkening the room.

If anything is obstructing the floor or if the floor is uneven, now is the time to get in and level it. Also make sure the floor is level and the shelves and tables you use are flat and not wobbling. Chemicals, due to their liquid nature, can make tables unstable. Wobbly tables leave splatters all over the place and can contribute to messy prints.

The combination of liquid and darkness can be dangerous. While there will be some light, the lack of bright light will cause shadows and gaps in your vision. These gaps can cause accidents from slips and falls, or an electrical spark that could injure or kill you and bystanders. I recommend using an anti-fatigue mat, which will prevent you from slipping on spills, such as from leg fatigue when developing your films or prints.

Use fans to ventilate fumes

The chemical process used in print and film development is toxic and should only be used in a well-ventilated area. If you are unfamiliar, this article I wrote about darkroom chemical toxicity and storage will be helpful. If you want to develop film and print in the darkroom in a safer and more environmentally friendly way, read this article.

Some think that a standard bathroom extractor fan can remove all pollutants, but that’s not true. For this reason, choose a powerful and compact fan. When the garage serves a dual purpose, you need a fan that can be moved and stored.

Position the fan properly and keep the setting low

A box fan might also work when set to the lowest setting, moving air toward an open window or door. Also, if you use plastic sheeting to cover the space, a fan could create a hole large enough for light to enter the area, ruining your film or prints.

Once the film or prints are hung out to dry, be aware that unless the fan is on the lowest setting, they may fall and get scratched. A fan cranked up high sucks in dust particles and throws them into your workspace. This dirt can get into lenses and onto negatives and cause dust spots on your prints if the room is not cleaned and prepared. Cutting corners at any stage of building the room could ruin the process. The same goes for drying the pictures. Using a fan to speed up the process could destroy the photos. Because of this, it is important to pay attention to how much moving air is being introduced into the darkroom.

Some ideas for fans

AC Infinity CLOUDLINE T6, 6″ Quiet Ducted Inline Fan with Temperature and Humidity Control – This fan is designed for small spaces like darkrooms and grow rooms. It also comes with a display that lets you change the temperature, just like the thermostat in your home. The great thing about the AC Infinity is that it can be chained to other models to cover larger spaces. This means you can expand your darkroom and keep the same fan configuration you had in the old one. You’ll also need flexible lines like this one on Amazon to direct the air.

Hihone 12″ Utility Blower Fan – When cleaning the room of fumes requires a larger machine with more power but low noise, the Hihone is the fan to look for. It comes with an extra line that allows the user to safely remove the fumes from the area. If you need more leads than supplied, then I suggest buying more from Amazon.com. This fan is great for the garage darkroom as it can be stowed under a shelf or cupboard, giving back needed space in the garage when not in use.

Install a storage space in the area

If you used to take your gear to the darkroom, you should have a flat table with drawers or something similar to store everything inside. Here are a few tips on what to build or what to look for when buying:

Store film in drawers and away from light

Solid drawers keep the light out in the moments before the room goes dark. Any light will ruin the film, and having ways to protect your shots from light is the most important part of a darkroom. A drawer is great for this because it doesn’t take up any extra space while hiding under the edge of the table. Once it’s closed, no light comes in.

Store chemicals in a safe place

The solutions used to develop and process film need a level place to rest when in use and a place to store them. Walking around in the dark with dangerous chemicals at your feet is not a good idea. Use the space or compartment under a table to store your liquids. If you have access to the entire garage, this might not be a problem. Keep the area around the storage space clear of objects that could cause slipping and falling.

Find a flat surface for development trays

The trays that hold the solution during development need a flat and level place to rest. The top of the table should not have any extra holes or indentations. Once the liquid is in the bowls, they must remain in place until the process is complete. A flat table ensures that the images are adequately covered with the required amount of liquid and develop as intended.

Recommended solution

This kitchen island on Amazon.com is a good choice. Lockable casters on the bottom make it portable and storable when you need to get it out of the way. The doors and drawers allow for storing chemicals and extra rolls of film, it has moveable shelves inside and a towel rail in case you spill any liquids.

Cover windows with plastic fabric

Setting up a darkroom in your garage relies on your ability to make the space as dark as possible. Light reacts with the film and photo paper and could ruin the film and there is no way to fix it after the fact.

Create a space that is as close to total darkness as possible. You’ll add lights later, but there are still parts of the process that require total darkness, like developing film. A garage doesn’t usually have that many windows.

If you’re using the entire space, use thick fabric or thick black plastic to cover all openings. Cut pieces of plastic slightly larger than all of the windows and secure them with opaque strong tape like this black Gaffers tape available on Amazon.com.

If you only want to use part of the space, drape the area as a whole with thick black plastic like this one on Amazon.com and use heavy duty black tape to attach it to the frame. Apply firm pressure to the tape as the tape needs to stay in place for a long time. If the darkroom is going to be used long-term, it is best to use thin sheets of plywood to cover the windows.

Is your darkroom dark enough?

An excellent way to determine if the room is dark enough is to sit in it for about 20 minutes and let your eyes adjust. Hold up a light-colored object or piece of paper if you have it, and if it’s visible, the room isn’t dark enough. Go back and check windows and doors to seal off any light sources. Repeat the test as many times as necessary to make the room light-tight.

Another way to test if your darkroom is dark enough to make prints is to place a fresh sheet of darkroom enlarging paper, emulsion (or light-sensitive) side up, with the lights off (even safelights) in the Place in the middle of the room You want to use a darkroom. Put something on top that will cover the paper (e.g. your keys, batteries or thought paper). Leave it in your darkroom for at least an hour with the lights off. After the lesson, develop the sheet of paper using the correct process depending on the type of paper (RC or fiber-based paper for black and white development, or color paper). If you can see the outline of the object or the paper darkens in any way, you need to make your darkroom more light-tight.

I recommend this opaque thick 6mm high quality black plastic film available from Amazon.com which is perfect for darkroom windows and doors. This roll makes it easy to unroll and cut the sections needed for the wall and door paneling.

Divide the room into a dry and a wet area

Keeping the chemicals out of the way will be the name of the game when creating a darkroom.

When setting up the room, make sure there are pages for the enlarger (Dry) and chemicals (Wet).

It’s also a good idea to keep the enlarging devices on the side of the room powered and not mixed up with the chemicals – this way none of the liquid electronics can be ruined.

The main reason for disconnecting is to protect the user from electric shock. The chemicals used to develop film are highly conductive, and a frayed wire or faulty outlet can cause electric shock or death. Also, the surge of water could fry any components you use to develop.

Electricity and water are essential parts of the development process and must be checked for reliability at this stage. Dirty water will cause impurities to get into the solution and ruin the images. Likewise, the power should be stable and the right outlets such as surge protectors or GFCIs (meaning Ground Fault Circuit Interrupter, these outlets will break the connection when an electric shock is imminent) should be installed.

Get gear for your garage darkroom

Both sides of your darkroom must be equipped with equipment specifically designed for film processing. Check out the lists below to take stock of what you may need and where to store it. I have also provided links to the products I recommend on Amazon.com for your convenience.

Equipment for the wet side of the darkroom

Film Clips – These could be swapped out for clothespins, but a nice set of steel clips will work best for your longer rolls of film. One of the best places to hang drying films or prints is over a bathtub or sink to catch the water drips.

Film Processing Tank – This Paterson film processing tank and roller set is a great option for developing film. The plastic spools can either take 35mm film or convert to take larger medium format film. The tank can hold two rolls of 35mm film or one roll of medium format film. If you are more interested in medium format film, I recommend you also buy this larger Paterson developing tank from Amazon.

Tongs – Tongs are needed to move the images from bath to bath. This handy set from Zuma comes with pre-colored sections to protect you from cross-contamination during the process that can ruin any images and mean restarting the entire process.

Hypocheck – Because fixer can be reused in the black and white development process, this product is useful as it lets you know if your fixer has run out.

Trays – Paterson makes some of the best darkrooms on the market. This set of 3 gives you the points you need when bathing the negatives and photos. They are color coded to help you remember which solution goes in which bowl. I recommend getting an extra set for the final step of the print washing process and for the extra containers of chemicals if you’re using fiber-based photosafe photo paper. (Read this article for more information on the differences between specific photographic saferoom papers).

Hopper – You need a way to transfer chemicals from storage to use and back again. Funnels help make things less messy. For example, certain chemicals used during the development process can be returned to their storage bottle (or an extra bottle for organization) and reused. This would be especially true for the stop bath and fixer. and helps to save money in the long term.

Darkroom Chemical Storage Bottles – You need bottles to store processing chemicals after they have been mixed. Most darkroom chemical instructions call for you to make 1000mL (about 1 US quart), so I recommend looking for that size as well. I recommend glass bottles like these on Amazon.com, but any type of opaque glass or plastic bottle will do. The key is to make sure they’re big enough to hold enough chemistry to fill your development tank or trays, but small enough to handle without being too heavy.

Thermometer – You need a thermometer to measure the temperature of chemicals during mixing and processing. Your thermometer needs to be stainless steel or glass so it doesn’t retain chemicals over long periods of use. I prefer metal thermometers as they are not as fragile as glass.

Graduated Cylinders – I recommend this kit of plastic graduated cylinders. You can also use glass cooking measures like this Pyrex set on Amazon.com. However, it should only be used to measure chemicals and no more.

Print Squeegee – After your print is made in the darkroom, you will need to squeegee some of the excess water out of the print over a sink. I recommend purchasing plexiglass such as this clear 12″ x 12″ x 0.5″ thick piece of plexiglass on Amazon.com.

Apron – Since some of the chemicals in the darkroom can damage clothing, a waterproof apron is a good idea. I recommend one with pockets for storage.

Equipment for the dry side of the darkroom

Safelight – This safelight is red and supports black and white safelight paper while keeping the darkroom free of hazardous white light (yellow can also be used with black and white prints). For more information on why it’s okay to use a red light in a black and white darkroom, see another of my articles here.

Grain Focuser – A gain focuser helps you focus your image on your enlarger when it’s too difficult to see. You can also use a traditional magnifying glass (like this one on Amazon.com) if you don’t want to buy a grain focuser.

Timer – During your film development process, each of the chemicals needs to be exposed for a specific amount of time, depending on the temperature of your chemicals and water, your film, and whether you are pushing or pulling the film. This timer is useful to remember how much time has passed. Also, each of the prints has to spend a certain amount of time in the darkroom under the light of the negative enlarger. This timer has a place to plug in your enlarger and turn it off when it reaches the end of the countdown. It also glows in the dark but doesn’t ruin your prints enough.

Easel – I highly recommend purchasing an easel to use with your enlarger when making prints in the darkroom. These are great for cropping your images as you print them and keeping your paper from moving during the process. Buying used is usually cheaper than buying new. I prefer to buy darkroom easels on ebay.com.

Paper Safe – This is a light-tight box that protects your paper from exposure to light in the darkroom. This is especially important if you have light switches in your garage in case someone accidentally turns them on and ruins your paper packet.

Black and White Darkroom Paper – Don’t forget darkroom paper for your darkroom. There are several companies that make photographic darkroom paper, but I recommend using Ilford. This is photo paper sensitive to light (except yellow and red safety light) and designed to produce black and white prints. Many surface textures are available, from matte to gloss, as well as different base types including resin-coated and fibre-based. For beginners, I recommend using RC paper (resin coated) over FB paper (fiber based). Read this article I wrote about the differences between RC and fiber based darkroom paper and which one is best for your level.

Colored Safeboard Paper – If you want to make color prints, the base is the same as for colored saferoom paper (resin coated), so you just have to choose between gloss levels (z -glossy and glossy, etc.). I suggest you use this 8×10″ glossy color enlarging paper from Fujifilm to start with.

Negative enlarger – This device shines light through your negative to enlarge the image on your film negative onto a piece of photographic saferoom paper that is developed in the darkroom. We will discuss these below.

Contrast Filters – These filters are inserted into your negative enlarger and will increase or decrease the contrast of your images when projected onto photographic darkroom paper.

Research which items are in your price range

The most important thing to keep in mind when looking for gear is your price range. Some enlargers and darkroom kits can get very expensive. The most expensive part of the build will be purchasing equipment for the dry side of the room. Enlargers can cost upwards of $1000, but they are also much cheaper to find second-hand. All other items can be bought used at a significant discount if you do a sufficient search.

Search the internet for used equipment. Check out Craigslist, Facebook Marketplace and LetGo for used camera gear that can save you money. Buying second hand isn’t a bad idea for someone just starting out, especially if you’re unsure about pursuing the hobby for very long.

Check online retailers. The big online superstores have great photo sections that give you access to every product on the market. The range of products and prices they have available makes film processing a cheap alternative in some cases. Take your time and be specific in your search to find the best deals. The more money you save on chemicals, the more money you can spend on something else, e.g. B. for an enlarger or lenses.

Find student-owned devices. An excellent place to look is towards the end of the semester on a college campus. There are always some young photography students going home for the summer with darkroom gear they need to get rid of.

Purchase an enlarger for development

An enlarger is a machine used to cast the image captured from the film onto larger sheets of paper, which are then chemically processed. It uses a tiny light to shine the image from the negative, through a lens to focus it, and onto light-sensitive photographic paper. It also makes the small image from the negative larger, that’s why it’s called an enlarger. Check out some recommended new enlargement models, each containing a lens, lens plate and negative carrier.

Beseler Cadet II Model – This enlargement model of Beseler is available from B&H. com is ideal for the beginner. It’s compact, making it a great option for a small darkroom in a garage or bathroom. This model is only suitable for 35mm film size but can print up to 8×10″. It also includes a lens, a lens plate and a negative carrier (which you put your film negatives on).

Beseler Printmaker 67 – Available on B&H.com from Beseler, this enlarger model can print from 35mm and medium format negatives, producing prints up to 11×14″. However, it can print larger if set up properly. It’s compact, making it a great option for a small or portable darkroom in a garage or bathroom. It also includes a lens, a lens plate and a negative carrier (which you put your film negatives on).

Chemicals: Buy a darkroom kit

A darkroom kit is a pack of chemicals that you use to develop your film. Each type must not be mixed, otherwise the results of the photographs could be questioned. Using a darkroom takes time, and that time should be spent ironing out the weak spots in your development process. Once the process becomes familiar, taking risks with the solutions can produce effects that most digital photographers find difficult to replicate.

All chemicals should be handled with care and appropriate protective equipment should be worn at all times. This prevents the chemicals from becoming too toxic.

There are three basic types of darkroom chemicals: developer, stop bath, and fixer. These three chemicals are used both in developing film (most often using a light-tight film processing tank) and in developing safe photographic prints in the darkroom.

For developing film in a light-tight tank (like this one on Amazon.com), your chemicals are infused for a set amount of time and either poured down the sink or back into a storage bottle, followed by a water rinse.

To develop paper proofs in the darkroom, these chemicals are placed in trays where the paper, exposed to the light from the enlarger, is transferred from one tray to the other in the order of developer, stop bath and fixer. After that there is another tray of running water to wash away excess chemicals. However, depending on the type of darkroom paper used, additional steps may be required (see this guide on darkroom papers that I wrote for more information on darkroom paper). A good idea is to pair a specific pair of tongs with the appropriate chemical. Chemical cross-contamination can ruin film and paper prints.

One of the best innovations in the world of photography is making the chemicals available in a kit for newbies and younger enthusiasts. These darkroom kits provide the student with everything they need to develop their film. This range of chemicals can be hard to find if you don’t know what you’re looking for, and selling them all together will make it cheaper.

Paterson has a wide range of darkroom chemicals and supplies available on the B&H website. This starter pack contains everything you need to start developing your own black and white film, including the film tank and spools, all chemicals, graduated cylinders and film hangers.

CineStill also makes a starter kit for developing black and white film. This kit includes the developing tank and rollers, chemicals (monobath) and can develop up to 16 rolls of film.

Find a safety light for the room

While film development begins in the dark, as you load your film into the development tank, there is a light that can be used without overexposing your darkroom paper. This light is called a safety light because it is a light that is safe to use in the darkroom and is either a yellow or red light. For more information on why safety lights are used and why you can use either amber or red and not ruin darkroom paper, read this other article I wrote.

These lights are not found in Walmart’s lighting department or at your local hardware store. Look for them on sites like Amazon or eBay. I recommend using either a bulb rated for safelight use (like this one) or a dedicated safelight (like this one or this one on amazon.com). Here are a few tips for using safety lighting:

Make sure the security lighting is close to the power supply. The light should be hung in a place where there is a cord or switch nearby. Fumbling around in the dark with so many chemicals and moisture can spell disaster.

. Das Licht sollte an einem Ort aufgehängt werden, an dem sich ein Kabel oder Schalter in der Nähe befindet. Herumfummeln im Dunkeln kann bei so vielen Chemikalien und Feuchtigkeit eine Katastrophe bedeuten. Machen Sie es einfach zu erreichen. Sie möchten einfach darauf zugreifen können, damit Ihren Ausdrucken während des Entwicklungsprozesses nichts passiert.

Sie möchten einfach darauf zugreifen können, damit Ihren Ausdrucken während des Entwicklungsprozesses nichts passiert. Bewahren Sie es auf, wenn es nicht verwendet wird. Bewahren Sie Ihr Papier in einem Papiersafe (wie diesem auf Amazon.com) oder einer Dunkelkammertasche auf, bis das rote Licht aufleuchtet, um das Papier vor der Verwendung zu schützen.

Ideen für Dunkelkammer-Upgrades

Sobald die Gegenstände an Ort und Stelle sind und der Raum betriebsbereit ist, könnte es an der Zeit sein, über Verbesserungsmöglichkeiten nachzudenken. Einige Ideen für Upgrades Ihrer Dunkelkammer sind:

Waschbecken – Ein Waschbecken auf der Nassseite Ihrer Dunkelkammer könnte ein Lebensretter sein. Ihr eigenes Waschbecken könnte auch beim Entwickeln Ihres Films hilfreich sein, da Sie sowohl fließendes Wasser als auch das Auffangen der Wassertropfen von trocknenden Filmnegativen oder -abzügen benötigen. Es ist auch hilfreich, wenn Sie Ihre Entwicklungschemikalien mischen, da die meisten von ihnen mit Wasser gemischt werden müssen, um gebrauchsfertig zu sein.

Trockenschrank – Ein Trockenschrank zum Aufhängen und Trocknen von Negativen oder Drucken nach der Verarbeitung kann ebenfalls praktisch sein, besonders wenn Sie keinen zusätzlichen Platz im Badezimmer haben. Dieser ist besonders groß, aber er lässt sich zusammenbrechen, um überall zur Aufbewahrung zu passen.

Conclusion

Der Bau einer Dunkelkammer in Ihrer Garage kann eine billige und einfache Möglichkeit sein, Ihren eigenen Film auf bequeme Weise zu entwickeln. Die Digitalfotografie hat die Landschaft so lange dominiert, dass viele jüngere Fotografen sich dafür entscheiden, ihren eigenen Film zu entwickeln, um einen Vorteil in ihrer Arbeit zu haben.

Beachten Sie die oben genannten Tipps, wenn Sie einen Raum für die Entwicklung Ihres eigenen Films schaffen. Die Hauptsache ist, Spaß beim Erlernen dieses Prozesses zu haben.

Quellen: 1, 2, 3, 4, 5, 6, 7, 8

We are often asked for help with screen printing and the most common request is for help exposing screens.

Benjamin Franklin is quoted as saying, “By not preparing, you are preparing to fail” – I don’t know how good he was at screenprinting, but it sounds like he has some experience! One of the most common problems when using a new light source is assuming that the exposure times will be the same as the guide/previous lights. A successful photo emulsion stencil depends on many things: lamp wattage, timings, distance from the screen, and thickness of the emulsion.

Prepare your screen

First of all you have to make sure that your screen is clean and dry, grease (even from your fingers) can cause problems with the correct adhesion of the emulsion. The best product we’ve found for cleaning screens before coating is Speedball Speed ​​Clean. This should remove all traces of fat. Make sure you wash the cleaner off the screens thoroughly and then allow the screen to dry completely.

Mix up your emulsion

The next step is to coat your screen. We recommend coating the screens in a room with dim lighting – a safe light is not required, but dim lighting will give you a bit more time to coat your screen.

If you’re using a new emulsion, it’s best to mix it up about an hour in advance to allow any bubbles to break up. A photographic emulsion consists of two parts: the emulsion itself and the sensitizer. The sensitizer is in powder or gel form in a tiny amount in the bottle. It must be thoroughly mixed with water in the bottle before adding to the emulsion. Here you can watch a video showing how to mix your emulsion.

coating of your screen

To coat your screen, use a coating pan. The aim of coating screens is to fill all the holes in the mesh of the mesh and not to deposit a few mm on the mesh. You need a gutter that is slightly narrower than the width of the mesh on the screen. 225mm wells are perfect for our A4 canvases, 315mm wells for our A3 canvases etc.

You can watch a video on how to coat a screen here, or read on for instructions.

First fill the coating pan half full with premixed photo emulsion.

Hold the screen in one hand and the trough in the other. We want to coat the flat side of the mesh where it’s flush with the frame. Make sure your fingers aren’t wrapped too far around the bottom of the gutter, or they may pull up marks on the screen.

Slightly tilt the screen backwards. Start with the trough at the bottom of the screen, slightly higher than where the frame ends. Tilt the trough until the emulsion completely reaches the screen. Tilt the trough a little steeper and gently pull it up the net until you reach the top. Then pause for a second.

To avoid drips on the top of the screen, tilt the screen slightly towards the trough and maintain contact between the trough and the screen. This allows the tub to catch the excess emulsion.

Next, stand the strainer upright and pull the strainer with the trough up (without tipping it this time). This will remove any uneven or thick areas of emulsion on the screen, especially thick borders. You can do this on both the inside and outside of the mesh to ensure an even coating.

The rest of the emulsion can be scraped back into the pot. Store the emulsion in the refrigerator for up to 6 months. Wash the trough immediately. It’s important to keep it clean, especially the edge that touches the screen: any mark on that edge can ruin an even layer of emulsion next time.

Dry the screen horizontally, print side up, in a dark place. It’s a good idea to put some wedges (blocks) under the frame to allow air to circulate.

Troubleshooting the screen coating

Your layer is too thick – use the trough (without tilting it) to scrape the screen to remove thick areas of emulsion.

It leaves voids with no emulsion – either there isn’t enough emulsion in the chute, or you didn’t wait long enough for the emulsion to touch the screen along the chute before dragging it across the screen. Coat again (you shouldn’t have to wash the screen again if you do this immediately), this time more slowly.

There are spots in the emulsion – this can be caused by dragging fingers or other objects touching the screen. This can also be caused by dust. So make sure your screen has been thoroughly cleaned before coating.

Preparation of your screen film

When the screen is completely dry you can expose your screen. Leave it in the dark room until you are ready to reveal the design. The next crucial part is the positives. This should be printed on screen film and very dark so that no light can penetrate the dark areas – you can test this by placing the positive on a light box or holding it up to a window. We have packs of inkjet screen film available or can print film positives for you.

All areas you want to print must be 100% black, the rest must be transparent. You don’t want a negative (where the black and white are reversed). Usually you want the design to be right side up and not back to front.

Using an exposure unit

Some exposure units have lights from below, others from above. Whichever unit you have, you need to ensure close contact between the Plus and the screen so the traveling light can’t damage your screen.

Using a lamp or a home-made exposure device

For more detailed instructions on how to uncover a screen at home, click here.

Speedball has developed a lamp specifically designed to illuminate screens. You can find it here.

If your exposure unit or setup has a light from above, use a piece of black foam rubber under the screen with the print side of your screen facing up. Place your positive on the screen and then secure and emulate a vacuum by placing a sheet of glass on top of the acetate.

Find the right exposure time

Exposure times depend on your lamp and the distance between the screen and the lamp. Basically, the lamp should be at least as far away as the longest side of your screen is away.

The best way to get timings is with a graduated exposure (a bit like black and white photography). Use a piece of opaque black cardstock and place it over your screen, exposing about 1/5 of the screen. If using an A4 screen, start with an 8 minute exposure, then move the card up to about 2/5 for another 2 minutes (10 minutes), then move the card up for another 2 minutes (12 minutes). 3/5 , then go to 4/5 for another 2 minutes (14 minutes) and then completely remove the card for the last 2 minutes (16 minutes). Turn off the lights and look at your screen. Where the positives were, the emulsion should be chalky in color. The rest of the screen should be darker. When washing (see below), the emulsion should react differently depending on the exposure time. This method should be used to determine the optimum time. Where the emulsion washes out completely (both the positive and negative image) it is underexposed, where the positive image is very difficult to wash out it is overexposed. Now you have your optimal time, you are ready to expose your real screen.

Wash your screen

Once your screen is exposed, wet it on both sides. This will track the exposure to make sure it’s not overexposed. Allow the water to soak into the emulsion for 30 seconds to a minute.

Use a hose or jet nozzle to remove the unwanted emulsion from the screen. The areas of your design should be washed clean. The emulsion on the background should be cured by the light and stay on the fabric.

Exposure and screen cleaning troubleshooting

The design isn’t washed out of the screen – the screen might be overexposed. You may need to decrease your exposure time. It is also possible that your screen film is not opaque enough. Try doubling the film or have one printed by Handprinted instead. It’s also possible that your screen was overexposed after the first exposure. Carrying your screen through a bright area or leaving it too late before washing can overexpose the screen.

The background emulsion has started to peel off the screen – the screen may be underexposed. You may need to increase your exposure time. It’s also possible that you were too heavy-handed with the screen cleaning. Jet washing too vigorously, too close or too long can damage the emulsion. Using abrasive cleaners on the screen can also damage the emulsion.

The design detail didn’t come out well – it could be that your design is too finely detailed for your screen. To learn more about details on screens, read here. To achieve more detail on a screen, a higher mesh count may be required. It’s also possible that the screen is slightly overexposed.

The emulsion is peeling off – the emulsion was probably applied too thickly to the screen and needs to be recoated thinner. When coating, be sure to scrape excess emulsion off your screen.

Removing the emulsion from the screen

When you have finished printing the design, the image can be removed with Photo Emulsion Remover. You can watch a video of this process here.

It can be difficult to make a house feel like home when your space lacks windows and natural light. But even the tiniest shimmer and glow can transform a dark room into a warm and inviting oasis. Read on for 15 ideas on how to fake natural light in a dark room.

15 ways to fake natural light

Below are 15 ways you can create the illusion of natural light in your home.

1. Use mirrors

The reflective properties of mirrors can make your space appear larger and brighter. For example, let’s say your room has only one small window that hardly lets in any light. In this case, you can place a mirror on the opposite wall to reflect the light. You can even go one step further and fill your room with mirrored surfaces like a mirrored coffee table or vanity. It’s just a great way to turn a dark room into a glowing sanctuary.

2. Use soft and warm tones

Warm light can turn any dark area into a comfortable, inviting space. Most warm lights are orange-yellow in color, a hue associated with rest and relaxation. They can soothe any disturbingly dark room.

The BlissRadia is a great option for illuminating your dark space without adding clutter. This lamp spreads soft tones that transition seamlessly from one color to the next. It can also glow in just one unchanging rainbow color. You can also set it to mimic the sun’s rays via the BlissLights app – the ultimate infusion of natural light in a dark room.

BlissRadia Intelligent LED Mood Light €49.99 From desk to bed, light the way for focus, stimulation or relaxation. Shop now arrow_forward

3. Use neutral colors for furniture and walls

If you’re painting and decorating a room with no windows, you’ll want to keep your color scheme light and neutral. This is because darker tones absorb more light, so dark colors and furniture will dull any lighting entering your space. Try pairing lighter paint colors with similarly colored furniture for a more natural vibe.

4. Add luster to furniture surfaces

Simulating natural light can be as simple as adding a crisp white gloss finish to your walls, crown molding, ceiling and hard furniture. That’s because shiny surfaces are known to reflect more rays in space, much like mirrors. You can also invest in a few decorative pieces that have a shiny or metallic finish, like vases, jewelry holders, or metallic wall art. They brighten your dark-hued space and spark an enticing new energy.

5. Go for bright colors

If you struggle with a lack of natural light, avoid dark tones and designs. While neutral colors are a great option, you don’t want to overload your space with white, tan, and gray tones. For a pop of color, try adding cheerful pastels. Robin’s Egg Blue, lavender, goldenrod, or a warm green can all create an amazingly warm glow.

6. Keep windows clear of furniture

You might want to place your bed frame or desk against a window for aesthetic reasons. This is a good idea in most rooms, but if you have trouble letting the sun in during the day, consider keeping your windows as open as possible. This means you may have to compromise and rearrange your furniture. You might also want to swap out your heavy curtains for sheer ones. If your windowsill still feels empty, try adding a plant in the corner to bring your space alive with nature’s allure.

7. Avoid clutter

In a dark room, clutter poses problems that don’t just take up your space. Most clutter doesn’t have reflective properties either – it’s not like shiny cabinets are part of your clutter – so they usually make your home appear darker. One solution: Add furniture that doubles as storage—especially brightly colored furniture. You can also decorate your walls with white floating shelves and dazzling trinkets that enliven the space from top to bottom.

8. Add subtle lights

Maximize the amount of light in your space by avoiding fixtures that are the center of attention. When a light fixture acts as a focal point, it takes away from the actual light you are adding to your space. Avoid obtrusive fixtures like chandeliers and low-hanging pendants in favor of flush mounts. These types of lights can be like a mini sun hanging overhead – they bring a sense of natural light into your space while keeping things open and fresh.

9. Use sheer curtains

Although heavy curtains can be aesthetically pleasing, they won’t do your lighting situation any good. Instead, layer sheer curtains over blackout drapes to get the best of both worlds. This allows you to let in the tiny bit of available sun during the day. Then, when you go to sleep, you can draw the heavy curtains. A solid white curtain can counteract the darkness of your room, and turquoise or lavender curtains can add character to your space.

10. Add floor lamps

In a windowless room, corners can look dark and spooky. This is often because your overhead light doesn’t reach there, and this effect is more pronounced when there is no sun shining into your room. A simple solution: a large floor lamp in the corner of your room. This tall lamp can transform any dark area into a soft, glowing sanctuary. It can also be a great decorative piece, adding a whole new dimension to that oddly dark corner.

11. Place furniture near your light sources

Getting good light in a room with limited sun exposure can mean getting creative with everything else in the room. This includes your furniture, and some interior designers recommend keeping your sofas and loveseat close to your lamps and other fixtures. So you have the feeling that you have a lot of light everywhere, even if no sun rays penetrate through the windows. It’s an easy way to build your own glowing world.

12. Make all available windows a central point

Even if you have a tiny window in your room, it means you still get some natural light. You should play this as much as possible – you could make your window the focal point of your room. Because the more attention you draw to your light, the more significant it will seem. Arrange your furniture and decorations around this window and extend the whole scheme outwards to make good lighting the star of your show.

13. Use recessed lights

If you lack floor space in your living room, save yourself the clutter and brighten up your space with overhead lighting. However, if you’re short on natural light, a central source overhead isn’t enough. You need a set of recessed lights – the kind that have the bulbs stuck in and above your ceiling – for that bright daytime glow. This may be all you need to turn your small space lacking in natural light into a bright, inviting retreat.

14. Don’t get patterned lampshades

Bright, patterned lampshades seem like a fun and unique option for a poorly lit room. Finally, light-colored furniture and decorations can enhance even the darkest rooms. But in reality, brightly colored, patterned lampshades usually obscure the light they cover. Instead, choose bright lampshades that don’t block the light. Pure white or off-white lampshades can enhance your decor and add new depth to your surroundings.

15. Install under cabinet lighting

In most cases, overhead lighting alone cannot fully illuminate a room. You need more brackets for hard-to-reach areas like countertops, bookshelves, or dresser drawers. Instead of using clunky lights that only add to your clutter, you can light up your less accessible spaces with LED strip under cabinet lighting.

The BlissGlow is a great choice for under cabinet LED strips. It can glow in up to 12 colors at once and move to the beat of whatever music you’re playing in your dimly lit room. For easy setup, simply peel off the self-adhesive backing and stick directly under any spot in the closet. You can control the colors and transitions from your phone for a simple, seamless experience—with or without natural light.

BlissGlow Multicolor LED Strip Light $49.99 Refresh your space with a modern glow. Shop now arrow_forward

Light up any dark room with BlissLights

With color-changing LED strips and atmospheric ambient lights, you can transform any dark room into a glowing sanctuary. You can get both—and many other DIY natural light options—through BlissLights. Browse the BlissLights collection now to see even your darkest spaces in a whole new way.

In the past, when I have used a darkroom, the safe lighting was a low-power incandescent bulb with an “orange” color filter.

Given that red light is less energetic than orange, and LEDs are reasonably monochromatic, they can (eg.

We include products that we believe will be useful to our readers. If you make a purchase through links on this site, we may receive a small commission. Here is our process.

About SAD SAD is a type of depression that is more common in the late fall and winter months. Most people who are affected find that their symptoms lessen or even disappear in the spring and summer. Individuals with vitamin D deficiency can also use a SAD lamp. Vitamin D helps the nervous system, muscles, and immune system function properly. It also helps the body absorb the calcium it needs to maintain healthy bones. Most people get the vitamin D they need from their diet and the sun. However, those who don’t get enough sunlight or have a medical condition that prevents their body from absorbing vitamins from food can develop vitamin D deficiency. This can lead to rickets in children, while adults can develop muscle weakness and bone pain. Sometimes people also use SAD lamps to help with sleep disorders or depression.

How do SAD lamps work? People need sunlight for many reasons. It affects the body’s natural diurnal cycles, also known as circadian rhythms. These determine how people feel and when they go to sleep and wake up. Sunlight helps the brain produce hormones that the body needs to function. Some examples are serotonin, which plays a role in mood, and melatonin, which helps with sleep patterns. The skin also uses sunlight to make vitamin D. Also known as sunlamps or light boxes, SAD lamps work by mimicking sunlight. These lamps usually display measurements in lux, which refers to the luminance of the lamp. For example, doctors might recommend that a person with SAD sit in front of a 10,000 lux light box for 30 minutes each day as soon as possible after waking up. There’s some evidence of the benefits of light therapy, but scientists aren’t sure if it works yet. In addition, this type of therapy may not be suitable for everyone. People with photosensitivity, bipolar disorder, diabetes, or eye disorders should avoid treatment. Experts advise people who want to try light therapy to only use SAD lamps, which emit fluorescent light without UV wavelengths, which can damage the skin and lead to skin cancer. However, for people who use a SAD lamp to help their skin make vitamin D, UVB light is essential. Anyone considering using a SAD lamp should speak to a doctor or healthcare professional first.

What to Look for in a SAD Lamp A person looking for a SAD lamp should consider the following factors: Light Intensity: An intensity of 10,000 lux is part of standard treatment guidelines for light therapy.

An intensity level of 10,000 lux is part of the light therapy. Positioning: A person should be able to tilt their SAD lamps down to reduce glare.

A person should be able to tilt their SAD lamps down to reduce glare. UV Filter: Individuals should look for a lamp with a built in UV filter and UV blocking.

How to Use a SAD Lamp There are general guidelines for using a SAD lamp to reduce SAD symptoms. A person may consider: sitting in front of the SAD lamp first thing in the morning

using a fluorescent light source with a diffuser screen

Ensuring a 30-minute exposure to 10,000 lux

Angle the SAD lamp at -30 degrees away from the subject’s line of sight

sit 12-24 away from the SAD lamp

don’t look directly at the bulb

Begin using the SAD lamp in the fall and continue through the spring

List of SAD Lamps Below are five of the best SAD lamps you should buy. Please note that the author of this article has not tried these products. All information presented is purely research based and correct at the time of publication.

Medical News Today follows a rigorous product selection and review process. Learn more here. Overall Best: Verilux HappyLight Luxe Price around $70 Dimensions Height: 11.7 inches

Width: 7.5 inches

Depth: 0.5 inch Lamp Intensity 10,000 lux Weight 2 pounds (lb) Verilux sells a range of HappyLight products that provide full spectrum, UV free light at an intensity of 10,000 lux. The company’s HappyLight Luxe is portable and features adjustable color temperatures, timers and a choice of four different brightness levels. People who use the product say it helps improve their mood, sleep patterns, and energy levels. Individuals can consider the following advantages and disadvantages of this lamp: Advantages three color temperatures: 3,000, 4,000 and 5,000 Kelvin

countdown timer

uses UV-free light Cons Surface area is smaller than recommended guidelines for treating SAD

not adjustable

The light may be less powerful than other models. The Verilux HappyLight Luxe is available online. SHOP NOW Best Adjustable Lux Setting: Aura Day Light Lamp Price around $140 Dimensions Height: 14 inches

Width: 8 inches

Depth: 2 in. Lamp Intensity 3,500-10,000 lux Weight Approx. 1 lb. The Aura daylight lamp has adjustable light output and does not use UV light. Individuals can adjust the lux setting from 3,500 to 10,000 depending on their preference. One person can also mount the lamp on a wall and it will turn off automatically after use. The manufacturer points out that its design improves mood and increases concentration, focus and energy. Listed below are some pros and cons of the Aura daylight lamp that a person should consider. Advantages of adjustable angles

adjustable light intensity

provides UV-free light

countdown timer

wall lamp

Hinged floor Cons light reaches 10,000 lux at short distances

Lightbulbs can burn out quickly

higher price without significant increase in quality

not easy to carry The Aura Day Light Lamp is available online. SHOP NOW Best for Inducing Natural Sleep and Waking: Philips SmartSleep Light Therapy Lamps Price range approx. $50-$200 Dimensions vary Lamp Intensity 200 Lux Weight varies Philips designed its SmartSleep Sleep and Wake Up lamps to help people who Having trouble falling asleep or waking up. The lamps prepare the body for sleep by simulating sunset and gradually reducing the light and noise in the room. In the morning, the lamps do the same thing in reverse, simulating sunrise. People who use these products say they help them fall asleep and wake up more naturally, making them feel more energetic during the day. Individuals can consider the following pros and cons of this lamp. Pros a range of available lamps

All lamps have adjustable brightness levels

Light gradually increases to mimic sunrise

High-end lamps have a sunset simulation option to encourage sleep

Design supports natural waking and sleeping Disadvantages A light intensity of 200 lux does not meet standard guidelines for the SAD treatment level

The surface is smaller than the recommended guidelines

Difficult to adjust for optimal SAD treatment position

non-replaceable bulb

The design supports natural waking and sleeping, but not specifically SAD. The Philips SmartSleep light therapy lamps are available online. SHOP NOW Best Bulb Life: Circadian Optics Lumine Light Therapy Lamp Price Approx. $50 Dimensions Height: 9.5 inches

Width: 7 inches

Depth: 2 in. Lamp Intensity 10,000 lux Weight 1.69 lb These lamps do not use UV light. Also, they come in different versions with an intensity of 10,000 lux. The manufacturer’s design imitates the midday sun, and one person can adjust the lamp through three levels of brightness. Also, instead of fluorescent lamps, they use light-emitting diodes (LEDs), which have a lifespan of 50,000 hours. The lamp also comes with a 2 year guarantee. A person may consider the following Lumine lamp pros and cons: Pros delivers 10,000 lux to meet SAD treatment guidelines for brightness

does not use UV light

uses LED bulbs that last 50,000 hours

three levels of brightness

Produces white colored light Disadvantages The surface area is smaller than the recommended guidelines for treating SAD

no timer

can not adjust the lighting angle

short power cord The Circadian Optics Lumine light therapy lamp is available online. SHOP NOW Best for Vitamin D: Sperti Vitamin D Sunlamp Price about $750 Dimensions Height: 22 inches

Width: 12 inches

Depth: 6 in. Lamp Intensity not listed Weight 13 lb. The Sperti Vitamin D Sun Lamp provides the UVB rays your body needs to make vitamin D. According to the manufacturer, it is the only product of its kind to be recognized by the Food and Drug Administration (FDA). The device also features an adjustable timer and includes two pairs of UV goggles to protect eyes during use. Doctors recommend using it for just a few minutes at a time to avoid burns. Below are some pros and cons of this lamp. Pros meets recommended surface guidelines for SAD treatment

adjustable timer

1,000 hour bulb life

comes with two pairs of goggles Cons More expensive than other models

Brightness is not adjustable

produces potentially harmful UVB rays

Unknown lux values ​​The Sperti Vitamin D sunlamp is available online. SHOPPING NOW

Frequently Asked Questions Below we address some frequently asked questions about SAD lamps. Can SAD lamps damage skin or eyes? A 2017 review recommends that people who take medications that increase their sensitivity to sunlight, or who have medical conditions that have the same effect, exercise caution when using SAD lamps. Additionally, people with cataracts, retinopathy, or glaucoma should only use an SAD lamp under the supervision of an ophthalmologist. Do SAD Lamps Increase Your Vitamin D Levels? Lamps that produce UVB light can help a person’s body produce vitamin D, according to a 2017 study. However, future research is needed to confirm the results. If a person is concerned that they have a vitamin D deficiency, they should speak to their doctor as soon as possible. How long does it take for light therapy lights to start working? The exact time it takes to see a reduction in SAD symptoms can vary, but research shows that most people experience symptom relief within 7 days of starting treatment.

Instructions for screen printing on t-shirts

By ShirtSpace | 08/23/2019 | Updated October 23, 2020

Screen printing is a bit more complicated than using vinyl or iron-on transfers, but the results can be spectacular. Rather than using transfer paper and an iron to adhere an image to the surface of a shirt, screen printing uses a stencil and ink printed directly onto the shirt to create the image. The result is a shirt with an image printed on the fibers.

Getting started with screen printing requires a few materials. You need:

Printing screen and frame (available at craft stores)

Photo emulsion and sensitizer (also available at craft stores)

Yellow bug light

A desk lamp

A 250 watt incandescent light bulb or a 500 watt halogen light

Latex/latex-free gloves

A dark room

t shirts

Stiff squeegee

screen printing ink

A piece of cardboard slightly larger than your design

Black garbage bags

inkjet or laser films

heat gun

Create your graphic using Photoshop or other graphic editing software. For beginners, we recommend starting with a solid color image like block letters or a silhouette. More advanced screen printers can experiment with multiple colors.

If you are using a multicolored image, you must use graphics editing software to split the image into layers, with each layer representing the multiple colors of the image. Monochrome images have only one layer and do not need to be divided into layers.

Print each individual layer of your image onto a clear film using black ink. The easiest way to print your slides is with an inkjet or laser printer. Make sure the black ink is really dark and opaque.

Prepare the screen

It is very important that you prepare your screen in a light-proof room that is free from UV rays. To do this, get a yellow bug light from your local hardware store and swap out your standard light bulb. This allows you to have light, but won’t pre-expose your screens until you’re ready.

Wearing gloves, mix the emulsion and sensitizer according to the manufacturer’s instructions. Remember this must be done in a light safe room!

Well, there are a few ways to coat your screen with emulsion. The first is to put down a black garbage bag and place your screen and frame on it. Then pour enough emulsion onto your screen to coat it completely and use your squeegee to spread it evenly across the screen.

Another, more efficient way to coat your screen with emulsion is to fill a paddle coater with emulsion, use a screen coating stand and coat both sides of your screen with emulsion. The emulsion should cover as much of your screen as possible and must be larger than the image you are going to print. When you’re done, you should have a thin, even layer of emulsion. Allow the screen to dry for at least 4 hours, but ideally 12-24 hours.

Now you need a very dark room, free from UV rays. A closed closet works as well as a dark bathroom with a little yellow bug light. If your room has windows, cover them with black plastic bags to keep light out.

If you don’t have a screen printing specific exposure unit, there are a few options to expose your image on your screen. First, place your emulsion coated screen on a black surface with the emulsion coating facing up. Next, stick the image sheet upside down on the emulsion. Some printers additionally secure the foil with a piece of flat glass as this helps reduce the gap between the foil and the screen. This is called positive contact, and it helps prevent light from creeping between your film and emulsion-coated screen. Using glass from a picture frame is an easy way to do this!

Now, if you’re using a lamp with the 250-watt bulb, position it so it’s a foot or two from the image (make sure the lamp you’re using can handle enough watts to accommodate that to reduce risk of fire or electricity short pants). Aim the lamp so that the light shines directly on the picture and leave the room for about 10-15 minutes. Remember, the closer the light is to your screen, the less time it will take to expose. This will take some time to set your exposure times!

For a faster exposure with less fluctuation, use a 500-watt halogen light, position it 16 inches above the center of your screen, and expose for 12 minutes 30 seconds to 13 minutes 30 seconds. If you’re using an image with multiple colors, repeat this process with each transparency that represents the colors of your image.

Rinse and dry the screen. As you do this you will see the emulsion being washed away where the exposed image is. Continue rinsing until the baked emulsion is completely washed off and you can see the image clearly.

Allow the screen to dry completely. Using a blow dryer can speed up this process, but be careful not to get too close to your screen when using a dryer.

Next, use masking tape to cover the perimeter of the screen that does not contain the picture and is not covered with emulsion. This will prevent the screen printing ink from seeping through the screen or sieve and onto your shirt in unwanted places.

time to print

Lay the shirt on a flat surface and place the stiff cardboard inside the shirt and just below where you want the image to be printed. Align the screen over the shirt.

Pour a small line of ink across the top of the screen. Use the squeegee to draw the ink across the screen in one gentle motion while maintaining pressure. Even pressure is important and will ensure the ink runs through the screen and prints your full image. Pull the squeegee and ink several times if necessary!

Now lift the screen and carefully remove the cardboard from the shirt. If you are using a single color image for your screen print, you are almost done.

In order to fix the ink so that it doesn’t wash out, you need to use heat to cure the ink to 320 degrees. A heat gun or flash dryer is ideal, but if you don’t have these you can adjust the ink by heating an oven to 400 degrees and putting the shirt in for thirty seconds, checking the process at each step to avoid catching fire. Using an oven isn’t optimal, so it’s best to head to your local hardware store to get a heat gun. While you’re there, you might also consider grabbing a tempering gun, which will let you know what temperature your ink is curing at. This is the best way to know your ink has reached 320 degrees and will not wash out.

If you are screen printing an image with multiple colors, you must repeat the process of printing and curing your ink for each color in your image. The extremely tricky part is making sure each slide exactly matches your previously printed ones, otherwise the image will come out misaligned, blurry and with overlapping colors.

If you want to use the screen for more screen printing, you can keep it in a dark place with emulsion and all. After you’ve removed all of the ink, black garbage bags work well for storage. But if you decide to use it for another screenprinting project, you can clean it with an emulsion remover, dry well and start again – remember to follow the emulsion remover instructions carefully. Don’t let the emulsion remover dry on your screen!

The screen printing process can be intimidating, but if you start with individual colors, practice and follow the instructions, you’ll quickly get the hang of it. Happy printing!

One of the necessities of filming is that you need a darkroom to develop your images and make prints from your negatives. One of the best places to set up a darkroom in your home is in the garage. It has few windows and can be easily cleaned when dirty. What do you need to build a darkroom in your garage?

The materials needed to build a decent darkroom will depend on the size of your garage and the volume of photos to be developed. Putting all these items together can be tedious, but don’t worry. Follow the steps below to set up a highly functional darkroom in your garage for developing your images and making photographic prints.

Organize and clean up dust and dirt before you start

A garage is a place that could be filled with additional furniture or boxes for storage or from a recent (or sometimes not so recent) move. Old sofas and boxes should be removed or thrown away to create a larger space. Things like old furniture will throw dust or dust mites into the air and could potentially ruin chemical baths, films, or your prints. Protecting your chemicals and negatives is paramount during the initial and delicate stages. Items that should be removed from your garage are:

Sofas – When sofas sit, they pick up all kinds of dander and dust. Sitting for too long can cause mold to form, contaminating the darkroom.

– When sofas sit, they pick up all kinds of dander and dust. Sitting for too long can cause mold to form, contaminating the darkroom. Lawn Mower – A large mower will bring in all kinds of dust and grass if it shares the same space as the darkroom. Remove or clean it before taking it to the workshop.

– A large lawnmower will bring in all kinds of dust and grass if it shares the same space as the darkroom. Remove or clean it before taking it to the workshop. Cartons – Dust settles on cartons and causes problems for the development process.

Dust settles on cardboard and causes problems for the development process. Woodworking Tools – Anything that brings in or houses sawdust also needs to be cleaned or stored elsewhere.

Every workshop will have a specific problem, but whatever it is, take the time to clean and remove anything that might be hindering the development process. You’ll be thankful you got the job done now instead of causing problems later. Using a vacuum or broom can help remove dirt and debris from this area.

Measure and prepare the room

Taking the time to make sure there is room for everything you need when the tools and storage are moved to their other rooms. Moving items around after creating a room by hanging plastic will be troublesome. Match everything up before you start darkening the room.

If anything is obstructing the floor or if the floor is uneven, now is the time to get in and level it. Also make sure the floor is level and the shelves and tables you use are flat and not wobbling. Chemicals, due to their liquid nature, can make tables unstable. Wobbly tables leave splatters all over the place and can contribute to messy prints.

The combination of liquid and darkness can be dangerous. While there will be some light, the lack of bright light will cause shadows and gaps in your vision. These gaps can cause accidents from slips and falls, or an electrical spark that could injure or kill you and bystanders. I recommend using an anti-fatigue mat, which will prevent you from slipping on spills, such as from leg fatigue when developing your films or prints.

Use fans to ventilate fumes

The chemical process used in print and film development is toxic and should only be used in a well-ventilated area. If you are unfamiliar, this article I wrote about darkroom chemical toxicity and storage will be helpful. If you want to develop film and print in the darkroom in a safer and more environmentally friendly way, read this article.

Some think that a standard bathroom extractor fan can remove all pollutants, but that’s not true. For this reason, choose a powerful and compact fan. When the garage serves a dual purpose, you need a fan that can be moved and stored.

Position the fan properly and keep the setting low

A box fan might also work when set to the lowest setting, moving air toward an open window or door. Also, if you use plastic sheeting to cover the space, a fan could create a hole large enough for light to enter the area, ruining your film or prints.

Once the film or prints are hung out to dry, be aware that unless the fan is on the lowest setting, they may fall and get scratched. A fan cranked up high sucks in dust particles and throws them into your workspace. This dirt can get into lenses and onto negatives and cause dust spots on your prints if the room is not cleaned and prepared. Cutting corners at any stage of building the room could ruin the process. The same goes for drying the pictures. Using a fan to speed up the process could destroy the photos. Because of this, it is important to pay attention to how much moving air is being introduced into the darkroom.

Some ideas for fans

AC Infinity CLOUDLINE T6, 6″ Quiet Ducted Inline Fan with Temperature and Humidity Control – This fan is designed for small spaces like darkrooms and grow rooms. It also comes with a display that lets you change the temperature, just like the thermostat in your home. The great thing about the AC Infinity is that it can be chained to other models to cover larger spaces. This means you can expand your darkroom and keep the same fan configuration you had in the old one. You’ll also need flexible lines like this one on Amazon to direct the air.

Hihone 12″ Utility Blower Fan – When cleaning the room of fumes requires a larger machine with more power but low noise, the Hihone is the fan to look for. It comes with an extra line that allows the user to safely remove the fumes from the area. If you need more leads than supplied, then I suggest buying more from Amazon.com. This fan is great for the garage darkroom as it can be stowed under a shelf or cupboard, giving back needed space in the garage when not in use.

Install a storage space in the area

If you used to take your gear to the darkroom, you should have a flat table with drawers or something similar to store everything inside. Here are a few tips on what to build or what to look for when buying:

Store film in drawers and away from light

Solid drawers keep the light out in the moments before the room goes dark. Any light will ruin the film, and having ways to protect your shots from light is the most important part of a darkroom. A drawer is great for this because it doesn’t take up any extra space while hiding under the edge of the table. Once it’s closed, no light comes in.

Store chemicals in a safe place

The solutions used to develop and process film need a level place to rest when in use and a place to store them. Walking around in the dark with dangerous chemicals at your feet is not a good idea. Use the space or compartment under a table to store your liquids. If you have access to the entire garage, this might not be a problem. Keep the area around the storage space clear of objects that could cause slipping and falling.

Find a flat surface for development trays

The trays that hold the solution during development need a flat and level place to rest. The top of the table should not have any extra holes or indentations. Once the liquid is in the bowls, they must remain in place until the process is complete. A flat table ensures that the images are adequately covered with the required amount of liquid and develop as intended.

Recommended solution

This kitchen island on Amazon.com is a good choice. Lockable casters on the bottom make it portable and storable when you need to get it out of the way. The doors and drawers allow for storing chemicals and extra rolls of film, it has moveable shelves inside and a towel rail in case you spill any liquids.

Cover windows with plastic fabric

Setting up a darkroom in your garage relies on your ability to make the space as dark as possible. Light reacts with the film and photo paper and could ruin the film and there is no way to fix it after the fact.

Create a space that is as close to total darkness as possible. You’ll add lights later, but there are still parts of the process that require total darkness, like developing film. A garage doesn’t usually have that many windows.

If you’re using the entire space, use thick fabric or thick black plastic to cover all openings. Cut pieces of plastic slightly larger than all of the windows and secure them with opaque strong tape like this black Gaffers tape available on Amazon.com.

If you only want to use part of the space, drape the area as a whole with thick black plastic like this one on Amazon.com and use heavy duty black tape to attach it to the frame. Apply firm pressure to the tape as the tape needs to stay in place for a long time. If the darkroom is going to be used long-term, it is best to use thin sheets of plywood to cover the windows.

Is your darkroom dark enough?

An excellent way to determine if the room is dark enough is to sit in it for about 20 minutes and let your eyes adjust. Hold up a light-colored object or piece of paper if you have it, and if it’s visible, the room isn’t dark enough. Go back and check windows and doors to seal off any light sources. Repeat the test as many times as necessary to make the room light-tight.

Another way to test if your darkroom is dark enough to make prints is to place a fresh sheet of darkroom enlarging paper, emulsion (or light-sensitive) side up, with the lights off (even safelights) in the Place in the middle of the room You want to use a darkroom. Put something on top that will cover the paper (e.g. your keys, batteries or thought paper). Leave it in your darkroom for at least an hour with the lights off. After the lesson, develop the sheet of paper using the correct process depending on the type of paper (RC or fiber-based paper for black and white development, or color paper). If you can see the outline of the object or the paper darkens in any way, you need to make your darkroom more light-tight.

I recommend this opaque thick 6mm high quality black plastic film available from Amazon.com which is perfect for darkroom windows and doors. This roll makes it easy to unroll and cut the sections needed for the wall and door paneling.

Divide the room into a dry and a wet area

Keeping the chemicals out of the way will be the name of the game when creating a darkroom.

When setting up the room, make sure there are pages for the enlarger (Dry) and chemicals (Wet).

It’s also a good idea to keep the enlarging devices on the side of the room powered and not mixed up with the chemicals – this way none of the liquid electronics can be ruined.

The main reason for disconnecting is to protect the user from electric shock. The chemicals used to develop film are highly conductive, and a frayed wire or faulty outlet can cause electric shock or death. Also, the surge of water could fry any components you use to develop.

Electricity and water are essential parts of the development process and must be checked for reliability at this stage. Dirty water will cause impurities to get into the solution and ruin the images. Likewise, the power should be stable and the right outlets such as surge protectors or GFCIs (meaning Ground Fault Circuit Interrupter, these outlets will break the connection when an electric shock is imminent) should be installed.

Get gear for your garage darkroom

Both sides of your darkroom must be equipped with equipment specifically designed for film processing. Check out the lists below to take stock of what you may need and where to store it. I have also provided links to the products I recommend on Amazon.com for your convenience.

Equipment for the wet side of the darkroom

Film Clips – These could be swapped out for clothespins, but a nice set of steel clips will work best for your longer rolls of film. One of the best places to hang drying films or prints is over a bathtub or sink to catch the water drips.

Film Processing Tank – This Paterson film processing tank and roller set is a great option for developing film. The plastic spools can either take 35mm film or convert to take larger medium format film. The tank can hold two rolls of 35mm film or one roll of medium format film. If you are more interested in medium format film, I recommend you also buy this larger Paterson developing tank from Amazon.

Tongs – Tongs are needed to move the images from bath to bath. This handy set from Zuma comes with pre-colored sections to protect you from cross-contamination during the process that can ruin any images and mean restarting the entire process.

Hypocheck – Because fixer can be reused in the black and white development process, this product is useful as it lets you know if your fixer has run out.

Trays – Paterson makes some of the best darkrooms on the market. This set of 3 gives you the points you need when bathing the negatives and photos. They are color coded to help you remember which solution goes in which bowl. I recommend getting an extra set for the final step of the print washing process and for the extra containers of chemicals if you’re using fiber-based photosafe photo paper. (Read this article for more information on the differences between specific photographic saferoom papers).

Hopper – You need a way to transfer chemicals from storage to use and back again. Funnels help make things less messy. For example, certain chemicals used during the development process can be returned to their storage bottle (or an extra bottle for organization) and reused. This would be especially true for the stop bath and fixer. and helps to save money in the long term.

Darkroom Chemical Storage Bottles – You need bottles to store processing chemicals after they have been mixed. Most darkroom chemical instructions call for you to make 1000mL (about 1 US quart), so I recommend looking for that size as well. I recommend glass bottles like these on Amazon.com, but any type of opaque glass or plastic bottle will do. The key is to make sure they’re big enough to hold enough chemistry to fill your development tank or trays, but small enough to handle without being too heavy.

Thermometer – You need a thermometer to measure the temperature of chemicals during mixing and processing. Your thermometer needs to be stainless steel or glass so it doesn’t retain chemicals over long periods of use. I prefer metal thermometers as they are not as fragile as glass.

Graduated Cylinders – I recommend this kit of plastic graduated cylinders. You can also use glass cooking measures like this Pyrex set on Amazon.com. However, it should only be used to measure chemicals and no more.

Print Squeegee – After your print is made in the darkroom, you will need to squeegee some of the excess water out of the print over a sink. I recommend purchasing plexiglass such as this clear 12″ x 12″ x 0.5″ thick piece of plexiglass on Amazon.com.

Apron – Since some of the chemicals in the darkroom can damage clothing, a waterproof apron is a good idea. I recommend one with pockets for storage.

Equipment for the dry side of the darkroom

Safelight – This safelight is red and supports black and white safelight paper while keeping the darkroom free of hazardous white light (yellow can also be used with black and white prints). For more information on why it’s okay to use a red light in a black and white darkroom, see another of my articles here.

Grain Focuser – A gain focuser helps you focus your image on your enlarger when it’s too difficult to see. You can also use a traditional magnifying glass (like this one on Amazon.com) if you don’t want to buy a grain focuser.

Timer – During your film development process, each of the chemicals needs to be exposed for a specific amount of time, depending on the temperature of your chemicals and water, your film, and whether you are pushing or pulling the film. This timer is useful to remember how much time has passed. Also, each of the prints has to spend a certain amount of time in the darkroom under the light of the negative enlarger. This timer has a place to plug in your enlarger and turn it off when it reaches the end of the countdown. It also glows in the dark but doesn’t ruin your prints enough.

Easel – I highly recommend purchasing an easel to use with your enlarger when making prints in the darkroom. These are great for cropping your images as you print them and keeping your paper from moving during the process. Buying used is usually cheaper than buying new. I prefer to buy darkroom easels on ebay.com.

Paper Safe – This is a light-tight box that protects your paper from exposure to light in the darkroom. This is especially important if you have light switches in your garage in case someone accidentally turns them on and ruins your paper packet.

Black and White Darkroom Paper – Don’t forget darkroom paper for your darkroom. There are several companies that make photographic darkroom paper, but I recommend using Ilford. This is photo paper sensitive to light (except yellow and red safety light) and designed to produce black and white prints. Many surface textures are available, from matte to gloss, as well as different base types including resin-coated and fibre-based. For beginners, I recommend using RC paper (resin coated) over FB paper (fiber based). Read this article I wrote about the differences between RC and fiber based darkroom paper and which one is best for your level.

Colored Safeboard Paper – If you want to make color prints, the base is the same as for colored saferoom paper (resin coated), so you just have to choose between gloss levels (z -glossy and glossy, etc.). I suggest you use this 8×10″ glossy color enlarging paper from Fujifilm to start with.

Negative enlarger – This device shines light through your negative to enlarge the image on your film negative onto a piece of photographic saferoom paper that is developed in the darkroom. We will discuss these below.

Contrast Filters – These filters are inserted into your negative enlarger and will increase or decrease the contrast of your images when projected onto photographic darkroom paper.

Research which items are in your price range

The most important thing to keep in mind when looking for gear is your price range. Some enlargers and darkroom kits can get very expensive. The most expensive part of the build will be purchasing equipment for the dry side of the room. Enlargers can cost upwards of $1000, but they are also much cheaper to find second-hand. All other items can be bought used at a significant discount if you do a sufficient search.

Search the internet for used equipment. Check out Craigslist, Facebook Marketplace and LetGo for used camera gear that can save you money. Buying second hand isn’t a bad idea for someone just starting out, especially if you’re unsure about pursuing the hobby for very long.

Check online retailers. The big online superstores have great photo sections that give you access to every product on the market. The range of products and prices they have available makes film processing a cheap alternative in some cases. Take your time and be specific in your search to find the best deals. The more money you save on chemicals, the more money you can spend on something else, e.g. B. for an enlarger or lenses.

Find student-owned devices. An excellent place to look is towards the end of the semester on a college campus. There are always some young photography students going home for the summer with darkroom gear they need to get rid of.

Purchase an enlarger for development

An enlarger is a machine used to cast the image captured from the film onto larger sheets of paper, which are then chemically processed. It uses a tiny light to shine the image from the negative, through a lens to focus it, and onto light-sensitive photographic paper. It also makes the small image from the negative larger, that’s why it’s called an enlarger. Check out some recommended new enlargement models, each containing a lens, lens plate and negative carrier.

Beseler Cadet II Model – This enlargement model of Beseler is available from B&H. com is ideal for the beginner. It’s compact, making it a great option for a small darkroom in a garage or bathroom. This model is only suitable for 35mm film size but can print up to 8×10″. It also includes a lens, a lens plate and a negative carrier (which you put your film negatives on).

Beseler Printmaker 67 – Available on B&H.com from Beseler, this enlarger model can print from 35mm and medium format negatives, producing prints up to 11×14″. However, it can print larger if set up properly. It’s compact, making it a great option for a small or portable darkroom in a garage or bathroom. It also includes a lens, a lens plate and a negative carrier (which you put your film negatives on).

Chemicals: Buy a darkroom kit

A darkroom kit is a pack of chemicals that you use to develop your film. Each type must not be mixed, otherwise the results of the photographs could be questioned. Using a darkroom takes time, and that time should be spent ironing out the weak spots in your development process. Once the process becomes familiar, taking risks with the solutions can produce effects that most digital photographers find difficult to replicate.

All chemicals should be handled with care and appropriate protective equipment should be worn at all times. This prevents the chemicals from becoming too toxic.

There are three basic types of darkroom chemicals: developer, stop bath, and fixer. These three chemicals are used both in developing film (most often using a light-tight film processing tank) and in developing safe photographic prints in the darkroom.

For developing film in a light-tight tank (like this one on Amazon.com), your chemicals are infused for a set amount of time and either poured down the sink or back into a storage bottle, followed by a water rinse.

To develop paper proofs in the darkroom, these chemicals are placed in trays where the paper, exposed to the light from the enlarger, is transferred from one tray to the other in the order of developer, stop bath and fixer. After that there is another tray of running water to wash away excess chemicals. However, depending on the type of darkroom paper used, additional steps may be required (see this guide on darkroom papers that I wrote for more information on darkroom paper). A good idea is to pair a specific pair of tongs with the appropriate chemical. Chemical cross-contamination can ruin film and paper prints.

One of the best innovations in the world of photography is making the chemicals available in a kit for newbies and younger enthusiasts. These darkroom kits provide the student with everything they need to develop their film. This range of chemicals can be hard to find if you don’t know what you’re looking for, and selling them all together will make it cheaper.

Paterson has a wide range of darkroom chemicals and supplies available on the B&H website. This starter pack contains everything you need to start developing your own black and white film, including the film tank and spools, all chemicals, graduated cylinders and film hangers.

CineStill also makes a starter kit for developing black and white film. This kit includes the developing tank and rollers, chemicals (monobath) and can develop up to 16 rolls of film.

Find a safety light for the room

While film development begins in the dark, as you load your film into the development tank, there is a light that can be used without overexposing your darkroom paper. This light is called a safety light because it is a light that is safe to use in the darkroom and is either a yellow or red light. For more information on why safety lights are used and why you can use either amber or red and not ruin darkroom paper, read this other article I wrote.

These lights are not found in Walmart’s lighting department or at your local hardware store. Look for them on sites like Amazon or eBay. I recommend using either a bulb rated for safelight use (like this one) or a dedicated safelight (like this one or this one on amazon.com). Here are a few tips for using safety lighting:

Make sure the security lighting is close to the power supply. The light should be hung in a place where there is a cord or switch nearby. Fumbling around in the dark with so many chemicals and moisture can spell disaster.

. The light should be hung in a place where there is a cord or switch nearby. Fumbling around in the dark with so many chemicals and moisture can spell disaster. Make it easy to get to. You want easy access so nothing happens to your prints during the development process.

You want easy access so nothing happens to your prints during the development process. Store it when not in use. Store your paper in a paper safe (like this one on Amazon.com) or safebox bag until the red light comes on to protect the paper from use.

Darkroom upgrade ideas

Once the items are in place and the room is operational, it might be time to start thinking about ways to improve it. Some ideas for upgrading your darkroom are:

Sink – A sink on the wet side of your darkroom could be a lifesaver. Your own sink could also come in handy when developing your film as you will need both running water and catching the water droplets from drying film negatives or prints. It also helps when mixing your processing chemicals, as most of them need to be mixed with water to be ready to use.

Drying cabinet – A drying cabinet for hanging and drying negatives or prints after processing can also come in handy, especially if you don’t have extra bathroom space. This one is extra large, but it folds down to fit anywhere for storage.

Conclusion

Building a darkroom in your garage can be a cheap and easy way to conveniently develop your own film. Digital photography has dominated the landscape for so long that many younger photographers are choosing to develop their own film to have an edge in their work.

Keep the above tips in mind when creating a space for developing your own film. The main thing is to have fun while learning this process.

Sources: 1, 2, 3, 4, 5, 6, 7, 8

We are often asked for help with screen printing and the most common request is for help exposing screens.

Benjamin Franklin is quoted as saying, “By not preparing, you are preparing to fail” – I don’t know how good he was at screenprinting, but it sounds like he has some experience! One of the most common problems when using a new light source is assuming that the exposure times will be the same as the guide/previous lights. A successful photo emulsion stencil depends on many things: lamp wattage, timings, distance from the screen, and thickness of the emulsion.

Prepare your screen

First of all you have to make sure that your screen is clean and dry, grease (even from your fingers) can cause problems with the correct adhesion of the emulsion. The best product we’ve found for cleaning screens before coating is Speedball Speed ​​Clean. This should remove all traces of fat. Make sure you wash the cleaner off the screens thoroughly and then allow the screen to dry completely.

Mix up your emulsion

The next step is to coat your screen. We recommend coating the screens in a room with dim lighting – a safe light is not required, but dim lighting will give you a bit more time to coat your screen.

If you’re using a new emulsion, it’s best to mix it up about an hour in advance to allow any bubbles to break up. A photographic emulsion consists of two parts: the emulsion itself and the sensitizer. The sensitizer is in powder or gel form in a tiny amount in the bottle. It must be thoroughly mixed with water in the bottle before adding to the emulsion. Here you can watch a video showing how to mix your emulsion.

coating of your screen

To coat your screen, use a coating pan. The aim of coating screens is to fill all the holes in the mesh of the mesh and not to deposit a few mm on the mesh. You need a gutter that is slightly narrower than the width of the mesh on the screen. 225mm wells are perfect for our A4 canvases, 315mm wells for our A3 canvases etc.

You can watch a video on how to coat a screen here, or read on for instructions.

First fill the coating pan half full with premixed photo emulsion.

Hold the screen in one hand and the trough in the other. We want to coat the flat side of the mesh where it’s flush with the frame. Make sure your fingers aren’t wrapped too far around the bottom of the gutter, or they may pull up marks on the screen.

Slightly tilt the screen backwards. Start with the trough at the bottom of the screen, slightly higher than where the frame ends. Tilt the trough until the emulsion completely reaches the screen. Tilt the trough a little steeper and gently pull it up the net until you reach the top. Then pause for a second.

To avoid drips on the top of the screen, tilt the screen slightly towards the trough and maintain contact between the trough and the screen. This allows the tub to catch the excess emulsion.

Next, stand the strainer upright and pull the strainer with the trough up (without tipping it this time). This will remove any uneven or thick areas of emulsion on the screen, especially thick borders. You can do this on both the inside and outside of the mesh to ensure an even coating.

The rest of the emulsion can be scraped back into the pot. Store the emulsion in the refrigerator for up to 6 months. Wash the trough immediately. It’s important to keep it clean, especially the edge that touches the screen: any mark on that edge can ruin an even layer of emulsion next time.

Dry the screen horizontally, print side up, in a dark place. It’s a good idea to put some wedges (blocks) under the frame to allow air to circulate.

Troubleshooting the screen coating

Your layer is too thick – use the trough (without tilting it) to scrape the screen to remove thick areas of emulsion.

It leaves voids with no emulsion – either there isn’t enough emulsion in the chute, or you didn’t wait long enough for the emulsion to touch the screen along the chute before dragging it across the screen. Coat again (you shouldn’t have to wash the screen again if you do this immediately), this time more slowly.

There are spots in the emulsion – this can be caused by dragging fingers or other objects touching the screen. This can also be caused by dust. So make sure your screen has been thoroughly cleaned before coating.

Preparation of your screen film

When the screen is completely dry you can expose your screen. Leave it in the dark room until you are ready to reveal the design. The next crucial part is the positives. This should be printed on screen film and very dark so that no light can penetrate the dark areas – you can test this by placing the positive on a light box or holding it up to a window. We have packs of inkjet screen film available or can print film positives for you.

All areas you want to print must be 100% black, the rest must be transparent. You don’t want a negative (where the black and white are reversed). Usually you want the design to be right side up and not back to front.

Using an exposure unit

Some exposure units have lights from below, others from above. Whichever unit you have, you need to ensure close contact between the Plus and the screen so the traveling light can’t damage your screen.

Using a lamp or a home-made exposure device

For more detailed instructions on how to uncover a screen at home, click here.

Speedball has developed a lamp specifically designed to illuminate screens. You can find it here.

If your exposure unit or setup has a light from above, use a piece of black foam rubber under the screen with the print side of your screen facing up. Place your positive on the screen and then secure and emulate a vacuum by placing a sheet of glass on top of the acetate.

Find the right exposure time

Exposure times depend on your lamp and the distance between the screen and the lamp. Basically, the lamp should be at least as far away as the longest side of your screen is away.

The best way to get timings is with a graduated exposure (a bit like black and white photography). Use a piece of opaque black cardstock and place it over your screen, exposing about 1/5 of the screen. If using an A4 screen, start with an 8 minute exposure, then move the card up to about 2/5 for another 2 minutes (10 minutes), then move the card up for another 2 minutes (12 minutes). 3/5 , then go to 4/5 for another 2 minutes (14 minutes) and then completely remove the card for the last 2 minutes (16 minutes). Turn off the lights and look at your screen. Where the positives were, the emulsion should be chalky in color. The rest of the screen should be darker. When washing (see below), the emulsion should react differently depending on the exposure time. This method should be used to determine the optimum time. Where the emulsion washes out completely (both the positive and negative image) it is underexposed, where the positive image is very difficult to wash out it is overexposed. Now you have your optimal time, you are ready to expose your real screen.

Wash your screen

Once your screen is exposed, wet it on both sides. This will track the exposure to make sure it’s not overexposed. Allow the water to soak into the emulsion for 30 seconds to a minute.

Use a hose or jet nozzle to remove the unwanted emulsion from the screen. The areas of your design should be washed clean. The emulsion on the background should be cured by the light and stay on the fabric.

Exposure and screen cleaning troubleshooting

The design isn’t washed out of the screen – the screen might be overexposed. You may need to decrease your exposure time. It is also possible that your screen film is not opaque enough. Try doubling the film or have one printed by Handprinted instead. It’s also possible that your screen was overexposed after the first exposure. Carrying your screen through a bright area or leaving it too late before washing can overexpose the screen.

The background emulsion has started to peel off the screen – the screen may be underexposed. You may need to increase your exposure time. It’s also possible that you were too heavy-handed with the screen cleaning. Jet washing too vigorously, too close or too long can damage the emulsion. Using abrasive cleaners on the screen can also damage the emulsion.

The design detail didn’t come out well – it could be that your design is too finely detailed for your screen. To learn more about details on screens, read here. To achieve more detail on a screen, a higher mesh count may be required. It’s also possible that the screen is slightly overexposed.

The emulsion is peeling off – the emulsion was probably applied too thickly to the screen and needs to be recoated thinner. When coating, be sure to scrape excess emulsion off your screen.

Removing the emulsion from the screen

When you have finished printing the design, the image can be removed with Photo Emulsion Remover. You can watch a video of this process here.

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