Ages ago, I met a wonderful printer who had a viewing light on a dimmer, to examine a wet print, and because she only printed with one or two papers, was able to adjust the lux for whatever she was printing. Besides that, if she knew where a print was going to be placed, would visit the site and measure the viewing light. She examined her dry prints at THAT level. It was very simple to accommodate both techniques. When I started using a Thomas safelight, it was easy to adjust the safe light light to the be close to the wet viewing light. Of course a few papers didn't like that, most did, and sometimes a the restrainer needed to be adjusted in the developer.
Back in the '90s, didn't Howard Bond talk about a wet light on a dimmer ? Can't remember.
Anyway. Point is, we DON'T have to work in the dark, however we work.
LOPAKA: Joe Clark, a great guy.
CALLOW: where's the beer ?
ERIC: The Ilford trick snuck up on me, I was drinking beer and printing and listening to a really good hockey game. It gradually sunk in what was going on, but it was too late to do anything about it so I just sat down, opened another pop and listened to the rest of the game.
Everybody, I've got the COOLEST picture of Suzanne working in her studio.....
But, umm, its d*g*t*l so I can't show ya !
Matt: hiya ! Salmon running in Iowa ? |