What happens when a darkroom tool goes extinct, but twenty students still need it? The class had everything: a large-format camera, a darkroom, and eager students. It lacked only one thing: a negative holder that no longer existed. A negative holder is a device that keeps a piece of photo flat and steady during printing or scanning, and it is crucial because it ensures the image stays sharp, properly aligned, and free from distortion or damage.
The solution? Make One.
The original, nearly impossible to find, negative holders
Last Winter Study, Daniel Goudrouffe, the Photo Technician for the Spencer Art Building, taught a winter study class called “Creative Portrait in the Darkroom,” where students experimented with black-and-white film and created photomontages. The class utilizes a large-format view camera that produces 4×5-inch negatives, perfect for cutting, collaging, and combining with digital negatives to create layered portraits. However, there was one obstacle: the darkroom’s negative holders, which were essential for fitting these large negatives into the enlarger, were impossible to find online. The school’s enlarger was a rare, older, and slightly larger 5×7-inch model.
How We Solved the Problem
Using the Epilog to laser cut the negative holders.
Daniel collaborated with Harris Longfield ‘27, a fellow makerspace worker, and Jason Mativi, Senior Science Center Shop Engineer, to design new holders from scratch. First, using Fusion 360, Harris and I carefully traced the original holder’s dimensions, while Mativi laser-cut and 3D-printed prototypes. After testing the first model and correcting a few asymmetries, the final versions worked flawlessly. The extra holders made a huge difference: instead of waiting in line for a single holder, ten students could now pair up and share five holders.
With the new equipment, students took their projects to the next level, pushing them further than ever. Instead of cutting paper prints, a traditional photomontage method, they cut and layered actual negatives, both film and digitally produced, to craft a one-of-a-kind composition. The larger 5×7 enlarger provided extra space around the 4×5 negatives, allowing them to add new visual elements and more information. This combination of old-school technique and modern tools opened a world of possibilities for image-making.
The five laser cut negative holders
Perhaps the most striking result was how effortlessly the 3D-printed holders fit into the darkroom workflow, showing no loss of quality compared to the originals. By blending engineering with art, the project not only solved a practical challenge but also expanded the creative possibilities of analog photography, which shows how new technology can enhance and support classic film practices.
Surprises!
What surprised me most about this project was how naturally problem-solving morphed into a creative discovery. Initially, I viewed the missing negative holder as a straightforward hardware issue that required a technical solution, but I ultimately learned more: how to sketch and model a design, how to test and refine it, and the importance of teamwork in an environment where ideas are constantly evolving.
More importantly, I realized technology and art aren’t two separate worlds–they can actually amplify each other. By designing the new 3D-printed negative holders, we didn’t just replace a piece of equipment; we opened up new possibilities for creative image-making and expanded the possibilities of what a darkroom class could be. For me, that was a powerful reminder that creativity doesn’t exist in isolation: it grows when collaboration, technical skill, and art intersect. I’ll carry that forward into future projects, whether it’s prototyping or approaching any problem with both imagination and practical thinking.
Next Steps
Looking ahead, I can imagine this project leading to a shared toolkit for photographers everywhere. With tools like 3D printers and open-source design platforms, we can expand the idea by posting our files and guides online, making it possible for other darkrooms to thrive despite having vintage tools. I’d love to see this small innovation grow into a network that preserves classic practices and continually improves them through modern engineering.