Camera: Mamiya 7II 65mm f4
Film: Ilford HP5
Paper:Ilford MGRC 8x10 Glossy
Enlarger: De Vere 504
Column: 23cm/9in
Lens: Rodogon 80mm APO
Test Strips
4 secs / f22 / flt 2.5
20 secs /2 secs / f22/ flt 2.5
23 secs / 2 secs / f22 / flt 2.5
Base Image
23 secs / f22 / flt 2.5
Notes:
Sky burn 4-8 secs. Prints made to coincide with release of Portmanteau.
Camera: Rolleiflex 3.5f
Film: Ilford HP5
Paper:Ilford MGRC 8x10 Glossy
Enlarger: De Vere 504
Column:19cm/7.5in
Lens: Rodogon 80mm APO
Test Strips
4 secs / f22 / flt 3.5
20 secs /2 secs / f22/ flt 3.5
30 secs / 2 secs / f22 / flt 3.5
Base Image
30 secs / f22 / flt 3.5
Notes:
3.5 filter on the Ilford 500H head is the best balance for printing foggy scenes.
Camera: Rolleiflex 3.5f
Film: Ilford HP5
Paper:Ilford MGRC 8x10 Glossy
Enlarger: De Vere 504
Column:19cm/7.5in
Lens: Rodogon 80mm
Test Strips
4 secs / f22 / flt 2.5
24 secs /2 secs / f22/ flt 2.5
Base Image
23 secs / f22 / flt 2.5
Notes:
Dodging around face and hand 2/3 secs
Camera: Mamiya 7II /65mm f4
Film: Ilford HP5
Paper:Ilford MGRC 8x10 Glossy
Enlarger: De Vere 504
Column:23cm/9in
Lens: Rodogon 80mm APO
Test Strips
4 secs / f22 / flt2.5
14 secs /2 secs / f22/ flt 2.5
16 secs / f22 / flt 2.5
Base Image
16 secs / f22 / flt 2.5
Notes:
Multiple masks created to dodge and burn
Camera: Rolleiflex 3.5f
Film: Ilford HP5
Paper:Ilford MGRC 8x10 Glossy
Enlarger: De Vere 504
Column:19cm/7.5in
Lens: Rodogon 80mm APO
Test Strips
4 secs / f22 / flt 3.5
16 secs /2 secs / f22/ flt 3.5
30 secs / 2 secs / f22 / flt 3.5
Base Image
30 secs / f22 / flt 3.5
Notes:
3.5 filter on the Ilford 500H head is the best balance for printing foggy scenes.
Camera: Rolleiflex 2.8f
Film: Ilford HP5
Paper:Ilford MGRC 8x10 Glossy
Enlarger: De Vere 504
Column:19cm/7.5in
Lens: Rodogon 80mm APO
Test Strips
4 secs / f22 / flt 3.5
18 secs /2 secs / f22/ flt 3.5
22 secs / 2 secs / f22 / flt 3.5
Base Image
22 secs / f22 / flt 2.5
Notes:
Weather conditions were over cast with low contrast
The darkroom is full of variables — enlarger height, exposure time, contrast filters, paper types, dodging and burning, developer temp… the list goes on. A workbook helps you track all of it, session by session.
More importantly, it gives you something the darkroom doesn't always offer in the moment, namely perspective.
Repeat your successes – no more guessing games when revisiting a favourite negative.
Learn from mistakes – trace back what didn’t work and why.
Sharpen your eye – over time, your notes reveal patterns and preferences.
What to include
Everyone’s process is different, but here’s a basic structure I use:
For each print:
Image info: film stock, ISO, camera/lens used
Enlarger settings: lens focal length, height, aperture
Contrast filter usedLens: types and settings
Paper: brand, type, grade
Test strip times and observations
Final exposure time of the base Image
Dodging/burning: what, where, how long
A final thought
A good print isn’t just about contrast and tone. It’s also not about relying on your memory. A darkroom workbook helps you preserve more than just the image — it preserves the process of its creation.
Matt