The Darkroom, San Francisco, CA (2026)

The Darkroom specializes in Toy Camera Processing and scanning as well as Sprocket Hole, Cross Processing and Push/Pull processing. We work closely with the folks that make Holga, Lomo and Diana cameras. We test new prototype cameras and formats and figure out the best ways to process, scan and print these images. So… we can handle your various films and formats…from Holga 3-D stereo, Lomo Horizon, Sprocket Rocket, Lomo Spinner and yes, even your old Mamiya 645 or Hasselblad…

10/06/2026

There’s just something different about a real photographic print.

At The Darkroom, we print on true photographic paper from 4×6 all the way up to 12×18 - something that’s becoming pretty rare these days. Color prints are made on Fujicolor Crystal Archive Supreme paper, while our black & white prints are made on Ilford RC silver gelatin paper.

You can choose matte or glossy, with or without a border, and everything can be made directly from your scans.

Matte has less reflection, which makes it great for brighter rooms or areas with a lot of light. Glossy has a little more punch and looks especially good in rooms with more even or lower lighting.

And all of the photos shown here were taken by Trev Lee on a variety of film stocks with the Pentax 17 which is pretty impressive considering it’s a half-frame camera.

Don’t let your favorite photos live only on a screen. There’s still something special about holding your photos in your hands and seeing them on real photographic paper.

09/29/2026

What are the best 35mm film SLRs ever made?

New Paltz Photo Works recently shared their Top 15, so in this video Trev Lee responds with his own list.

Obviously, a list like this is completely subjective which is what makes it fun. What do you think of our picks, what did we miss, and what would make your Top 15?

Let the debate begin in the comments 👇

09/22/2026

Lucky Color 400 has arrived and we like it even more than Lucky 200!

This new C-41 color negative film is produced in China, and we recently shot it at box speed to see what it could do. At 400iso, it offers an extra stop of light over Lucky 200, making it a more versatile everyday film. Grain is noticeable but still pleasing, and the images remain relatively sharp with plenty of detail.

Its real strength is in bright daylight. With plenty of sunlight, Lucky 400 produces natural, well-balanced colors and a unique palette that separates it from the more traditional Kodak color.

It wouldn’t be our first choice for portraits, as skin tones can lean somewhat magenta but they’re a noticeable improvement over Lucky 200. Its weaker points are its limited exposure latitude and less consistent color balance under artificial light, especially in high-contrast scenes where the shadows can fall off quickly.

Overall, Lucky Color 400 is an exciting new addition to the growing color-film market. We’re excited to see what Lucky is producing in China and hope this film becomes more readily available in the United States 🙌 to learn more about all currently made film, check out our film index, which is linked in our bio!

Would you give Lucky Color 400 a try?

09/16/2026

In-camera double exposures are a fun, creative way to layer two moments into a single frame and tell a story that one exposure can’t.

The first thing to know: not every camera can do them. We recommend using a camera with a dedicated multiple exposure function, like the Nikon FM2/F3, Canon Elan series, or many Canon Rebels. Some cameras can be tricked into making a double exposure without a dedicated setting, but results can be less predictable. Others, including Leica M rangefinders and most point and shoots, generally won’t allow it in-camera.

For a simple place to start, make your first exposure a strong silhouette with clearly defined highlights and shadows. Then use your second exposure to add texture or detail. The darker areas of the first frame will reveal more of the second image, while brighter areas will retain less of it.

And when it comes to metering, don’t automatically assume you need to underexpose. With color negative or B&W negative film, we generally recommend metering each frame normally and experimenting from there.

There’s no single right way to make a double exposure - that’s part of the fun.

Want to go deeper? Check out our full Double Exposure Techniques lesson in The Darkroom Film School 👉 it’s free and linked in our bio 🙌

09/10/2026

35mm and 120 may be the formats we develop most, but film has taken many forms over the years 👉 Swipe through to see some of the formats we process here at The Darkroom, including 116, 127, 620, 110, 126, APS and 35mm single use cameras. Some are no longer in production, but we still see them regularly, especially when processing old found film.

A few have also been kept alive in new ways. The Michael Raso respools film for 620 and offers solutions for 126, while Lomography helped bring 110 back into production.

Single use cameras date back to the 1940s, but the modern 35mm cartridge versions we know today, like the Fujifilm 120 & 35mm Film QuickSnap and Kodak FunSaver, arrived in the 1980s.

And while it isn’t shown here, we develop sheet film too 🙌

09/08/2026

New colors 🙌 still $16.99!

Our upcycled Darkroom Cam comes loaded with Kodak 400 ISO color film, plus a free film mailer, making it one of the most affordable and convenient single use cameras on the market.

When you’re done, just scan the QR code on the back, place your order, drop the camera in the included mailer, and send it from any USPS mailbox. We’ll take it from there.

Grab yours through the link in our bio 🙌

Address

San Francisco, CA

Website

http://thedarkroom.com/

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