Brendon Rathbone , Jul 29, 2010; 12:53 p.m.
Hello everyone,
I have an interesting query, and hopefully someone can assist me here. I am a Film/Video guy, mostly worked in the office and with video so my last experience with developing was back in Film School(not too long ago but still). I've been asked to source a way that we can show dark room photography on camera for a short intro video we are creating.We really only need to see an 8x10 print and can cheat the process a bit if we want.
My initial thoughts are that I could either do something using backwards running video to my advantage, developing an image and then wiping it on camera somehow and just play it in reverse, or a local camera store employee mentioned something about a bleached image and selenium toner that sounded fairly experimental(forgive me if I've explained that one incorrectly).
All of this is assuming I wouldn't have time to flick on some lights as soon as my print enters the developing solution and get some quick and dirty developing photos, as I'm sure there's not enough time to get anything useful. I've also thought about doing the effect in post but thought we might as well try something in camera before we gave up and went that other route.
Anyways, I appreciate any kind of help you guys can give me.
Alan Marcus 
, Jul 31, 2010; 10:14 a.m.
I have used this technique countless times in the classroom to demonstrate in the light what happens in the developing process. This technique works on both paper prints and film.
Expose black & white film and develop using standard black & white chemicals. Print selected frames making several prints of various sizes. Use conventional photo paper developed as usual in black & white chemical.
Next you bleach the images. Solution A of Farmer's Reducer is best. Farmer's reducer is a common treatment used to reduce the density of film that is too dark. Solution A:
Potassium ferricyanide 37.5 grams dissolved in 500 milliliters of water.
Don't be anxious about the ferricyanide; it has been used for years and is quite safe. The cyanide component will not be liberated. You can find packets of Farmer's reducer at a well-stocked photo supply house or you can purchase on the web.
In a tray bathe the finished films and prints in solution A Farmer's reducer. The images on the film and prints will bleach away nicely. Some residual image remains. Wash and dry the film and prints.
For the demonstration, prepare the area with tanks or trays and enlarger and bottles filled with the normal chemicals of the developing printing process. Go through the motions of loading the film in the tank or better yet, seesaw the film in a tray of developer. The image will reappear. You need not further treat the film or you can continue with stop and fix and wash.
You can simulate printing by composing a negative in the enlarger on paper and exposing it. Develop the pre-treated paper in a standard black & white developer. The image will reappear. You can continue by simulating stop and fix and washing.
Farmer's reducer is named for Howard Farmer, its discoverer.
Craig Shearman 
, Aug 02, 2010; 03:30 p.m.
Keep in mind that a darkroom is far from completely dark when making prints. Do you have a video camera with "night shot" capability like the simple little Sony Handycams? A couple of safelights may very well put off enough light you can shoot for real with the nightshot setting. Even if you have to bring the safelight closer than usual to the print as it develops, it doesn't matter if it fogs to black after you've got your shot. The infrared look ordinarily might be considered a problem, but might look very appropriate in the context of "now we're going to turn the light off and use a night vision camera to show you what happens in a darkroom."
Brendon Rathbone , Aug 03, 2010; 01:24 a.m.
Hello again,
Thanks a lot Alan I am trying this method tomorrow and will let you know how it went. I was tempted to go for the Vicki Christina Barcelona darkroom safelight look but to actually show the photo developing we'd have to gain our cameras up so much that it would not be 'broadcast quality' as they say. We're trying to create a cinematic darkroom processing scene and need the best image possible.
I'm actually really glad I got on this little project and finally dusted off the old darkroom stuff and gave it a try, it's a great excuse to start shooting film again.
Lex (perpendicularity consultant) Jenkins 
, Aug 03, 2010; 02:47 a.m.
Brendon, if you don't mind faking things a bit, there are print processes that can be done in daylight or room light. For example, cyanotypes are a lights-on process that can be photographed, videotaped or filmed in progress.
You can also get *some* results with conventional silver halide print processing in less-than-safe lighting. The final print won't be ideal - it'll probably be fogged or show signs of the Sabatier Effect ("solarizing") and may eventually darken to black. But you may be able to compromise on the safe lights enough to use your video cams and at least show something of an image coming up in the tray. You might try brighter lights than normally recommended with OC filters, and use more lamps.
Brendon Rathbone , Aug 03, 2010; 07:59 p.m.
Hello Alan,
I had two problems with my Potassium ferricyanide. First off I attempted combining packets, not realizing you meant only part A of the solution. I feel silly reading over your message now that I realized this. Secondly, once I tried only the Part A solution I was unable to get my image to disappear much more than a slight fading. I ran out of packets eventually and will have to attempt again tomorrow. It is my first time attempting dark room enlarging and my negative was a bit dense. Do you think that could have been my problem?
