Switch to English Language Passer en langue française Omschakelen naar Nederlandse Taal Wechseln Sie zu deutschen Sprache Passa alla lingua italiana
Members: 70,930   Posts: 1,556,894   Online: 916
      
Page 2 of 3 FirstFirst 123 LastLast
Results 11 to 20 of 26
  1. #11
    brucemuir's Avatar
    Join Date
    Dec 2007
    Location
    Metro DC area, USA
    Shooter
    Multi Format
    Posts
    2,264
    Images
    4
    I learned in the dark but getting the paper in the easel takes some doing.

    wonder what they mean by
    "will effect your results"

    they dont go as far as saying the word fog

  2. #12
    Photo Engineer's Avatar
    Join Date
    Apr 2005
    Location
    Rochester, NY
    Shooter
    Multi Format
    Posts
    23,191
    Images
    65
    Gentlemen;

    You are speaking one of the guys who used to sensitize and coat color paper. I selected the Magenta (green sensitive) layer dye and AFAIK, it is still used. I have used Endura, Supra, Plus and 30/37 under WR-13 safelights since the 60s and earlier before I went to Kodak. The current dyes are even more "safe".

    I used to teach color printing at Kodak Park and we used safelights there as well.

    I assure you that those guidelines above are safe and even quite conservative. Just test first.

    PE

  3. #13
    Roger Cole's Avatar
    Join Date
    Jan 2011
    Location
    Suburbs of Atlanta, GA USA
    Shooter
    Multi Format
    Posts
    3,997
    I have an old Osram Duka 50 sodium safelight I used to use all the time with RA4 and even Ilfochrome and Kodak Type R paper (which always insisted on no safelight) and never had a problem or detectable fog. I used the lowest setting and bounced it off my white ceiling, but it was bright enough to make out the outlines of everything in the darkroom and that was a big help. I still have it but once it burns out I'll have to get something else. I have a Jobo Maxilux LED that was supposed to be safe for color but haven't tried it, and it doesn't seem it will be nearly as bright as the (already dim, used that way) Duka 50.

    But with an appropriate safelight it's definitely possible - or was, and I'm pleased to learn that today's very fast papers aren't any less safe with a proper safelight.

  4. #14
    hrst's Avatar
    Join Date
    May 2007
    Location
    Finland
    Shooter
    Multi Format
    Posts
    1,300
    Images
    1
    I find that safelight is most useful when I need to move the paper from developer to stop. Naturally, at this point, I can use high enough level of illumination to comfortably fish the paper from the developer tray. The level I use at this point causes some minor fogging after 30 seconds if used before developer, but when used when the developer time is up, the paper receives only less than 15 seconds of development after the exposure.

    "General" illumination has to be very low level, still better than nothing; but if used only "when you need it" and "where you need it", the level can be substantial; test it first.

    I use general yellow LEDs as is. Proper Wratten 13 filter added would probably allow me to double the illumination level.

  5. #15

    Join Date
    Jul 2010
    Shooter
    Medium Format
    Posts
    266
    I also use two safelights for RA-4 with #13 Kodak filters. One is near the ceiling and pointing at it, more than 7 ft away and the other can be mounted to point at the ceiling as well as away from it, at the paper, at about 5-6 ft. This is to facilitate making color photograms. Not a single cause of fog with either Supra III, Supra Endura or Ultra Endura when enlarging negatives, with the paper being exposed to safelights no more than 2 minutes total, as it's processed in drums. Photograms so far all seem to have pretty good whites that don't seem fogged, but, of course, YMMV.

  6. #16
    hpulley's Avatar
    Join Date
    Oct 2010
    Location
    Guelph, Ontario, Canada
    Shooter
    Multi Format
    Posts
    2,214
    Images
    75
    What about while cutting down long rolls?
    Harry Pulley - Visit the BLIND PRINT EXCHANGE FORUM

    Happiness is...

  7. #17

    Join Date
    May 2005
    Location
    Daventry, Northamptonshire, England
    Shooter
    35mm
    Posts
    7,047
    I have been using APUG for a few years now and this business of RA4 and the need for total darkness seem to be one of the hardest myths to kill.

    My experience like Roger Cole's is that if you want a reasonable non fogging light level then the DUKA sodium light is the way to go. Yes it will give enough light to allow you to cut sheets - at least in my experience.

    pentaxuser

  8. #18
    hpulley's Avatar
    Join Date
    Oct 2010
    Location
    Guelph, Ontario, Canada
    Shooter
    Multi Format
    Posts
    2,214
    Images
    75
    OK, I ordered a Kodak #13 safelight 5x7 insert and 7.5 watt bulb for my lamp. In the meantime should I continue to work in the dark or should I even try my Ilford 902 with 15 watt bulb? I guess at most I fog a page trying...
    Harry Pulley - Visit the BLIND PRINT EXCHANGE FORUM

    Happiness is...

  9. #19
    Greg Davis's Avatar
    Join Date
    Feb 2004
    Location
    Crestview Hills, KY
    Shooter
    8x10 Format
    Posts
    1,939
    Use Kodak's K-4 publication to test your safelight. It will show you how long you can have both exposed, and unexposed paper out before fogging occurs.
    www.gregorytdavis.com

    Did millions of people suddenly disappear? This may have an answer.

    "No one knows that day or hour, not even the angels in heaven, nor the Son, but only the Father." -Matthew 24:36

  10. #20
    hrst's Avatar
    Join Date
    May 2007
    Location
    Finland
    Shooter
    Multi Format
    Posts
    1,300
    Images
    1
    Typical B&W yellow light won't probably work, or you have to keep the level so low you cannot practically use it. They will contain red wavelenghts. Color safelight has a very narrow band just between the red and green, hitting the sensitivity minimum valley. B&W yellow light MIGHT be good for green layer (cannot be guaranteed) but still not good for red layers, creating either blue or cyan fog.

Page 2 of 3 FirstFirst 123 LastLast


 

APUG PARTNERS EQUALLY FUNDING OUR COMMUNITY:



Contact Us  |  Support Us!  |  Advertise  |  Site Terms  |  Archive  —   Search  |  Mobile Device Access  |  RSS  |  Facebook  |  Linkedin