Why does undeveloped film need total darkness, while black-and-white paper can be used under safelights?

Asked 9/17/2017

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Why must unexposed or undeveloped photographic film be handled in complete darkness, while unexposed and undeveloped black-and-white photographic paper can usually be handled under red, yellow, or amber safelights without fogging?

Originally by Photography Stack Exchange contributor. Source · Licensed CC BY-SA 4.0

Photography Stack Exchange contributor

8y ago

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The light sensitive goodies that comprise film are the metal, silver, and one or more members of the halogen family of elements (Swedish for salt maker these are -- chlorine, bromine, and iodine). Once a halogen is combined with silver, a light sensitive crystal results. These are coated on film or paper to make photographic film and photographic print paper.

In their natural state, these "haloid" crystals only respond to blue and violet light. Such films and papers can be safely handled in a darkroom illumined by a lamp that is void of blue and violet. This would be red, yellow, or amber safelights.

The fact that photo paper is only sensitive to blue and violet light is OK when it comes to making prints from black & white negatives. This means we can do the printing and developing of papers under safelight conditions (red or yellow or amber). Now early photographic film was also sensitive only to blue and violet. The problem was, some subjects imaged quite weird. Women who use lots of red makeup look wonderful when we gaze at them, but when photographed using these early films, the red makeup goes black, thus rouged cheeks, lips and natural ruddy completions image too dark.

The remedies were to add what is called sensitizing dyes to the film making recipe. The first attempts forced the film to become sensitive to green light, plus it retained its sensitivity to blue & violet. This film was called “orthochromatic” from the Greek, meaning suitable for all colors. Now this film is insensitive to red and thus it’s the type of film you want. Sorry to report that though still made, it is not readily available as a roll film. You can handle and develop orthochromatic under red safelight.

The next breakthrough in film making was to add more and different sensitizing dyes forcing the film to become sensitive to the three primary light colors which are red, green & blue. Such film is call “panchromatic”. The prefix pan is Greek for all and chromatic is Greek for color scale. Panchromatic is developed in total darkness. However, a feeble green light can be used for a few seconds if needed

Originally by user44949. Source · Licensed CC BY-SA 4.0

user44949

8y ago

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Because film and paper are usually sensitized differently.

Traditional silver-halide materials are naturally most sensitive to blue and violet light. Black-and-white darkroom paper is often left mainly sensitive to those wavelengths, so it can be handled under a safelight that filters out blue/violet—typically red, amber, or yellow—without significant fogging.

Photographic film, however, is generally designed to respond to a much wider range of visible light. Even black-and-white film is usually made sensitive to more than just blue/violet so it can record tones more naturally across the scene. Because of that broader sensitivity, the red/yellow safelights that are safe for many papers would still expose and fog the film.

So the short version is: paper can often be used under safelights because its sensitivity is limited; film usually must be handled in total darkness because its sensitivity is broader.

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