Photographic Paper
Resin-coated or fibre — the two papers behave completely differently in the tray.
A shallow ribbed tray that holds one bath and one sheet of paper at a time.
| Common sizes | 5 × 7 · 8 × 10 · 11 × 14 · 16 × 20 in |
|---|---|
| Depth | ≈ 60–80 mm |
| Base | Ribbed or dimpled to let chemistry circulate |
| Material | Rigid PVC or ABS |
| Volume (8 × 10 tray) | ≈ 1 litre for developer |
| Working set | Developer · stop · fixer · (wash or hypo clear) |
| Colour coding | Recommended — never share between chemistries |
| Cleaning | Rinse and dry between sessions; never stack wet |
Print processing happens in trays, usually three or four in a row: developer, stop, fixer, and sometimes a wash or hypo clear. The tray is deliberately shallow and wide so that a sheet of paper can be slid in flat and agitated by rocking without the chemistry spilling.
Size is the specification that matters. A tray should be at least one size larger than the biggest print you make — an 11 × 14 inch tray for 8 × 10 prints — so you can get your fingers under the paper without creasing it. The ribbed base helps chemistry circulate under the sheet and stops it sticking.
Colour-code your trays and never mix them up. Developer contamination with fixer causes flat, grey prints that are hard to diagnose. Many darkrooms use white for developer, red for stop and grey for fixer.
Resin-coated or fibre — the two papers behave completely differently in the tray.
A dilute acid that halts development in seconds and protects the fixer.
Dissolves the unexposed halide so the image stops changing and can be seen in light.
An enlarging timer with a foot switch — because your hands are always wet.