Darkroom Tips: Fine Art of Developing Good Negatives, part 2. The standard conditions should be adhered to rigidly for the routine processing of most negatives. The black and white pictures show step by step the normal procedure for handling the roll black and white films used by most amateurs. The processing of sheet black and white films follows the same steps but can be carried out in open dishes-much like the processing of black and white prints or in special tanks. But these routine procedures may have to be altered to achieve complete control over negative quality. This calls for an understanding of the role played by each factor involved -exactly how and why contrast, density and other characteristics of the negative are influenced by developer, stop bath, fixer, washing, time and temperature. The skills needed to develop good negatives are quickly learned, and the equipment demanded is modest. Most amateurs get along with temporary work areas in kitchen or bathroom - a sink with running water is a necessity for washing negatives (and black and white prints) and a convenience during other steps. If a kitchen is used as a part-time darkroom, particular care must be taken with black and white photographic chemicals. They, like many ordinary household supplies, are potent substances; many stain flooring and textiles, some may cause skin irritations and a few are poisonous. The word darkroom is something of a misnomer, for most steps in processing do not call for total darkness. Bright room lights can be left on most of the time during the development of black and white film (black and white printmaking is carried out in the illumination of a "safelight," which emits light of a color that does not affect black and white printing paper). Total darkness is required, however, while black and white film is being taken off its camera spool and loaded into the developing tank. During those five or ten minutes, not even a glimmer of light can be tolerated; even a work area that seems pitch dark may still be unsafe for unshielded black and white film. If there is any doubt about the risk of light, it is wise to make a darkness test. Clip off a few inches of unexposed black and white film and lay it on the work surface, making sure the emulsion (the side of the black and white film that feels smooth but not glassy) is facing up. Cover half the black and white film with a piece of cardboard and leave it there for about 15 minutes. Then process the black and white film clip as if it were an entire roll. After processing, examine the black and white film closely. If it is uniformly blank the work area is safe to use. But if a tinge of gray distinguishes the half that was not shielded by cardboard, the work area is not dark enough. Total darkness is difficult to attain during daylight hours unless special tight-fitting shutters are made for windows (ordinary shades cannot block all light). Even at night, windows should be shaded against light from the street. A cupboard, however, serves well for black and white film handling; once the black and white film is loaded into the tank and the tank closed up, the remaining steps of development can be carried out in ordinary room illumination.