PDF: Processing Room - X-ray Film Development

FILM-SCREEN IMAGE ACQUISITION, PROCESSING AND IMAGE ANALYSIS A Lecture Presentation College of Radiologic Technology Mrs. Luisa Cruz, RRT. PROCESSING ROOM  PROCESSING ROOM The processing room in radiology refers to a designated area where radiologic f...

FILM-SCREEN IMAGE ACQUISITION, PROCESSING AND IMAGE ANALYSIS A Lecture Presentation College of Radiologic Technology Mrs. Luisa Cruz, RRT. PROCESSING ROOM  PROCESSING ROOM The processing room in radiology refers to a designated area where radiologic films are developed and processed, traditionally associated with analog imaging techniques. PROCESSING ROOM A radiology processing room, also known as a dark room, is a space where X- ray films are developed. PROCESSING ROOM Purpose: The purpose of the processing room is to develop X-ray films into images that can be viewed and stored. IMPORTANCE OF PROCESSING ROOM Film Development In conventional radiology, X-ray films are exposed to radiation and then developed in a darkroom environment. The processing room contains the necessary equipment for developing these films using chemical solutions. IMPORTANCE OF PROCESSING ROOM Equipment The processing room is equipped with various tools and machines, including automatic film processors, darkroom sinks, and drying racks. These facilitate the steps of developing, fixing, washing, and drying the films. IMPORTANCE OF PROCESSING ROOM Safety Precautions The room is designed to ensure safety for technicians and staff, featuring proper ventilation, protective equipment, and storage for potentially hazardous chemicals used in film processing. IMPORTANCE OF PROCESSING ROOM Quality Control: This area allows for regular checks and maintenance of processing equipment, ensuring that films are developed accurately and consistently, which is crucial for diagnostic purposes. IMPORTANCE OF PROCESSING ROOM Transition to Digital With the shift to digital imaging technologies, many radiology departments have reduced the size of traditional processing rooms or transitioned them into areas for managing digital image data and quality control. IMPORTANCE OF PROCESSING ROOM Archiving and Storage The processing room may also serve as a storage area for developed films and digital imaging records, making it easier to retrieve and manage patient images for ongoing care. PROCESSING ROOM / DARK ROOM LAYOUT A room should be set aside as a permanent dark room, ideally with a floor area of not less than minimum of floor area of 10 sq m The room must be capable of being made completely lightproof. It should not be damp or subjected to extremes of temperature. Water and electrical outlets should be provided. Sufficient space to accommodate a dry bench, a wet bench and a sink. Too large room is as undesirable as small room PROCESSING ROOM / DARK ROOM LAYOUT Should be near the x-ray examination area. Should be well ventilated. The wall should be constructed of solid concrete (15 cm thick), have a lead box inside to store boxes of unexposed films currently in use. The walls and roof should be painted by white or cream enamel as such a paint acts as a good reflecting surface for safe light. X-ray rotating warning light in hallway switched "on" signaling that x-ray machine is operating. PROCESSING ROOM / DARK ROOM LAYOUT Centrally located Adjacent to radiology department Serviced by hatches from the adjacent imaging room Away from damp or hot areas Accessible in terms of power and water supply Adjoining viewing room PROCESSING ROOM / DARK ROOM SIZE 1.5 x 2.0 meters (for clinic) A plan of 2.0 x 3.0 meters (FDA standard) permits a daily production of about 200 finished radiographs Divided into “dry side” and “wet side” The minimum distance between the dry and wet sections should be about 4 ft (1.25 m)  PROCESSING ROOM / DARK ROOM LIGHTPROOF The first requisite of a processing room is the exclusion of all external white light when radiographs are processed. Photosensitive crystals in film emulsions are extremely sensitive to visible light, and any light leaking around a door or window may fog and ruin the films. A door that can be locked to avoid accidental exposure of film to white light. Alternatively a light outside the door indicating that the darkroom is in use. When the white light in the darkroom is switched off, the indicating light outside automatically goes o  PROTECTION AGAINST RADIATION Shielded w/ 1.5mm or 1.6 - 2mm lead sheet or poured 6 inches or 150 - 225 mm thick concrete to a height of at least 2.0 meters from the floor VENTILATION Humidity: 40% to 60% (Bushong) 30% to 60% (Fauber) Temperature: 680 to 700F (200-210C) - Bushong 550 to 750F - Fauber Air movement or flow between 8 to 10 ft. per hour PROCESSING ROOM / DARK ROOM FLOOR Non-porous flooring Non-slip flooring Chemical resistant Stain proof Durable & easy to maintain Light coloured (low-light working conditions) Asphalt tiles Porcelain tiles Clay tiles Plastic tiles may be used in the dry darkrooms PROCESSING ROOM / DARK ROOM FLOOR Durable & strong, chemical resistant, non-skid, nonporous Hard rubber and rubber sheet Adhesive material used to fasten down floor cover must be waterproof PROCESSING ROOM / DARK ROOM WALLS/CEILING Ceiling height of 2.7 - 3.3 meter Light in colour to reflect as much light as possible onto the working surface Easy to wipe or clean Covered with chemical resistant materials Special paints, varnish, ceramic or plastic wall PROCESSING ROOM / DARK ROOM WALLS/CEILING Wall color pastel or semi-gloss chrome yellow or light colors increase reflectance of light from safelight Open maze dull color (possibly black) w/ matte (nonglossy) finish glossy cream or white paint PROCESSING ROOM / DARK ROOM ENTRANCES Single door (Most common) Light lock door (double door) Labyrinth or maze Revolving/Rotating door (Most efficient)  SINGLE DOOR Simplest and cheapest type. Weather striping around the door frame. This type can cause accidental exposure of film to white light DOUBLE DOOR/LIGHT LOCK DOOR Has two doors One leading in and other out with a short hallway in between. One door cannot be opened unless the other is closed. This type can cause trapping LABYRINTH OR MAZE Has no doors. People can enter and exit at any moment. Takes up too much building space  REVOLVING/ ROTATING DOOR Most efficient but most expensive type. Composed of two black cylinders. The outer is fixed. Inner is the revolving door with only one opening. PROCESSING ROOM / DARK ROOM LIGHT 2 modes of lighting : Ordinary white lighting Safe lighting PROCESSING ROOM / DARK ROOM LIGHT White light For inspection & maintenance of cassettes & screens Cleaning of work surfaces Servicing of equipment Sited close to the ceiling Moderate in intensity Preferably centrally placed Should be 5 ft. above the work surface 7.5 to 15 watt tungsten bulb PROCESSING ROOM / DARK ROOM LIGHT Safelight A safelight works by passing white light through a colored filter to illuminate a darkroom without fogging photographic materials. The filter absorbs some wavelengths of light, while allowing others to pass through. PROCESSING ROOM / DARK ROOM LIGHT Parts of a Safelight Bulb: The light source, which can be a pearl bulb, fluorescent tube, or LED Filter: A colored gelatin filter that absorbs some wavelengths of light and transmits others Lamp housing: Holds the bulb and filter and prevents white light from escaping PROCESSING ROOM / DARK ROOM LIGHT Types of Safelight There are two safe lights in the dark room. One is on the wet bench Other one is on the dry bench Note: Safelights are not completely safe over prolonged exposure so make sure you work quickly & efficiently to avoid fogging your film!!!  PROCESSING ROOM / DARK ROOM ILLUMINATION DIRECT SAFE LIGHTING/ WALL MOUNTED SAFELIGHT Light from safe lamp directly falls onto the work surface Fixture type safelight Minimum distance of 1.2 m / 4 feet or 4-5ft from the working surface Best for loading and unloading areas Most common in the hospital 7.5-15 W  PROCESSING ROOM / DARK ROOM ILLUMINATION INDIRECT SAFE LIGHTING / CEILING MOUNTED SAFELIGHT Directs the light towards the ceiling which reflects light back into the room Is intended to provide general illumination of the dark room Suspended atleast 2.1 m above floor level or 6ft 25 - 40 Watts SODIUM VAPOR SAFELIGHTS COMBINATION SAFELIGHT  SAFELIGHT FILTERS Lamp w/ color filter absorb light spectrum wherein film is sensitive safelight depends on film sensitivity  SAFELIGHT FILTERS Safelight filters for different materials Amber or red: For black-and-white photographic printing Deep red: For orthochromatic papers and films, which are sensitive to yellow light Kodak GBX-2: For most blue and green sensitive medical and dental x-ray films Wratten 6B (brown): For blue sensitive film ML-2 (orange): For non-screen films, such as intraoral films in dental x-ray darkrooms HOW DOES A SAFELIGHT WORK? When white light is passed through coloured filters, certain wavelengths (or colours) are absorbed by the filters, whilst those wavelengths, which correspond to the colour of the filters will be transmitted. Making the correct selection of safelight filter (matching the filter to the film), means choosing a filter, which will transmit a colour to which the film stoping al light to which the film is most sensitive  HOW SAFE IS SAFE LIGHTING? No safe lighting is completely safe; all films will become significantly fogged if exposed to safelights for long enough. This is because safelight filters are not perfect absorbers of the undesirable wavelengths and, in truth, all films have some sensitivity to all wavelengths. Thus, the intensity of illumination and the film-handling time must be kept to a minimum if significant fogging is not to occur. SAFELIGHT ILLUMINATION TEST Place a coin on a small piece of photo paper. Let it sit for 20 min. and develop the paper. If you see the outline of the coin, your safelight isn't safe If the safelight is not safe, you should do one of the following to correct the problem: Replace the bulb with one of lower wattage Raise the safelight lamp higher from working surface Check the filter - may be cracked or broken LUMINANCE ILLUMINANCE  VIEW BOX ILLUMINATOR Photometric analysis of viewbox illumination should be conducted annually. This is done by measuring light intensity at several areas of the illuminator with instrument called photometer. This intensity should not vary by more than ±10%. If a bulb requires replacement, all bulbs should be replaced in that illuminator and matched to the type of bulb in adjacent illuminators.  HOW TO CLEAN VIEW BOX? Must be changed every 2 years. Clean weekly with anti-static and non abrasive cleaner. Cleanliness essential spilled solution wiped evaporation chemical might settle on film surface causing “spots”  HOW TO CLEAN VIEW BOX? If used 24/7 Bulbs changes once a year If used 12/7 Bulbs changed once every two years  MAINTENANCE The darkroom needs day-to-day maintenance and good housekeeping. The developing and fixing solutions should be changed regularly, Everyday in the morning, the developer and fixer solutions should be stirred using the rods. The developing tank and fixing tank should be kept full of developer and fixer.  MAINTENANCE The developer and fixer solutions should be changed once in 30 days or lesser, depending upon the workload. The water in the rinsing/washing tank must be changed everyday. Running water should be preferred. The developer, fixer solutions and rinsing, washing water should be maintained at the same temperature. The water must be clean. If it is muddy or dirty, proper filter must be used. The filter should be cleaned every week. 2 SECTIONS IN THE PROCESSING ROOM: 1. Dry side/section 1. Wet side/section Loading Bench Interval timer Cassette Thermometer compartments Safelight Cassette Processing tanks Film holder (bin) (manual) Film hanger Negatoscope/illuminator brackets DRY BENCH  DRY BENCH The dry bench is where the cassettes are unloaded and recharged with fresh film. It must be impossible for splashes of developer to reach the dry bench surface. The top of the dry bench must be large enough to accommodate the largest cassette in use when opened out. The top surface should be either of wood or linoleum. Plastic laminates are not recommended because they hold static charges of electricity which can cause marks on films. It is usual to store film boxes, especially those in current use, beneath the dry bench, either in a cupboard (protected it near an X- ray set ) or in a film hopper FILM HANGER/HOLDER CASSETTES  FILM IDENTIFICATION PRINTER Design to print patient information Exposes the cassette blocker  FILM BIN A light-tight container of the fresh film PASSBOX OR CASSETTE HATCH Allows transferring of cassette without opening the entrance door  WET BENCH The wet bench is where the processing of the films is carried out. The usual method is to use a set of tanks holding developer , rinse water and fixer, and a larger tank for washing the films. PROCESSING TANKS (MANUAL) 1. MASTER TANK This tank serves as a water jacket to hold the insert tanks and is usually large enough to provide space between insert tanks for rinsing and washing of films. The water assists in maintaining the same / constant temperature in the insert tanks. PROCESSING TANKS (MANUAL) 1. INSERT TANK These are removable containers for the individual processing solutions - (developer and fixer), and are spaced in the master tank PROCESSING CHEMICALS DEVELOPER SPECIFIC GRAVITY