I got sick of that sinking feeling when a 40$ incandescent safelight does not light up and it's just after 9PM, so that it's too late to run to the photo store (had to wait for sundown before setting up the darkroom, 'innit?). I did what the modern eco man does: I got myself LEDs. This one, in red and in amber: http://www.superbrightleds.com/moreinfo/led-household-bulbs/e27-36-led-globe-bulb/438/ With a 30,000 hours estimated lifetime, I thought that two of each would be sufficient (you never know how long you're gonna spend there...). I got the red since every once in a while I like to play with exotic papers/films and can use the added safety. Plus, looking at the spectrum, I knew it would be 100% safe for any VC paper. But I took the plunge and got the amber as well. The spectrum peaks at 590nm, though it starts around 550nm. Looking at Ilford MGIV, its spectral sensitivity is mostly gone by 550nm, but not inexistent as well. I setup the darkroom in the garage and put in the amber. I was printing some MGIV for my contacts, and then it was all graded paper. The safelight was about 4 feet above my trays, in opposite direction from the enlarger. My first reaction was WOW! It's never been that bright in here. So clear in fact that I was scared it was too bright. So I did a quick safelight test: strip of MGIV directly under the light for five minutes. Some very light fogging. However, since the bulb is more directional than an ordinary frosted bulb, I just made sure the beam pointed away from the developing tray, and everything was fine. I then switched on to graded, and had no issues at all. The amber was a revelation for me. I'm used to working in a red/orange light, and the spectrum of the amber is so much better on the eyes. It really allows for an improved evaluation of contrast without having to switch on the white lights all the time--with red light, it's a necessity. What's more, since contrasts appear "natural" to the eyes, after an hour or so, I had the impression I was working under white light. To be safer, I could revise a little my setup by either moving the light away a bit more, or getting a less intense one (I got a 36-LED bulb, but there are also 18-LED ones). But since I have a red one as well, I could just switch lights if I'm doing critical printing on VC paper. Which I am seldom doing, since my favourite fine printing paper is Kentmere Bromide graded paper. In sum, get a LED safelight. It's cheap, it won't break when you schlep it around in your temporary darkroom boxes, and will not die on you during your lifetime.