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  1. #1

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    under the lens red safty light

    Can anyone tell me what red filter to use as a under the lens safety light filter, with a Aristo V 54 lamp. I just upgraded to it. I've been using the red safety filter that comes with the Ilford Multigrade Filters. It works fine the Aristo W 55 and W 45 lamps but not at all with the V 45 lamp, I can't see any image on the easel. I use the safety filter alot when dodging and burning small areas.

  2. #2
    RalphLambrecht's Avatar
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    There may not be much red content in the spectral output of the Aristo V 54 lamp. Hence, nothing is let through by the filter and you cannot see an image on the easel. Switching to a different filter will help you see but it may not be 'safe' anymore. I use a piece of cardboard, red on top and flat black on the bottom, to dodge and burn. That let's me see the image and does no harm to the paper.
    Regards

    Ralph W. Lambrecht
    www.darkroomagic.comrorrlambrec@ymail.com[/URL]
    www.waybeyondmonochrome.com

  3. #3

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    Thanks for the reply Ralph, I'll give it a try. I would still like to hear from someone using the Aristo V 45 lamp. I do some post Fogging in small areas of the print by laying a mask over the whole easel. I need to be able to see the image on the easel to line the mask up exactly where it needs to be.

  4. #4
    ic-racer's Avatar
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    Go back to using the W45.

    Or you could rig up some sort of incandescent lamp inside your lamphouse to use when lining up your masks (or bright amber or red LEDs).

    You could try some amber filters. I always thought it odd that under the lens safelight filters were always red, whereas every safelight I have ever owned in 35 years has been amber (Kodak OC).

  5. #5
    RalphLambrecht's Avatar
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    Quote Originally Posted by ic-racer View Post
    ... You could try some amber filters. I always thought it odd that under the lens safelight filters were always red, whereas every safelight I have ever owned in 35 years has been amber (Kodak OC).
    No filter is safe. All filters only protect for a certain time. OC filters are a compromise between safety and being able to see. They reach further into the visible spectrum than red filters, making it easier for humans to see. A red filter is as safe as it gets for paper and the best option for under-the-lens safelight filters.
    Regards

    Ralph W. Lambrecht
    www.darkroomagic.comrorrlambrec@ymail.com[/URL]
    www.waybeyondmonochrome.com

  6. #6
    Roger Cole's Avatar
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    I've never really seen the point of the under the lens red filter. My Omega D2 doesn't have one, though the parts to add one are readily available used. I just don't see the point. How exactly does such a filter help with dodging and burning? I don't get it.

  7. #7
    RalphLambrecht's Avatar
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    Quote Originally Posted by Roger Cole View Post
    I've never really seen the point of the under the lens red filter. My Omega D2 doesn't have one, though the parts to add one are readily available used. I just don't see the point. How exactly does such a filter help with dodging and burning? I don't get it.
    I almost always use a standard or customized burning card to fine-tune the print (see attached). It is helpful to do a dry-run with the red safelight filter in place, aligning the card before committing the actual exposure to paper.
    Attached Thumbnails Attached Thumbnails BurningCard1.jpg   BurningCard2.jpg  
    Regards

    Ralph W. Lambrecht
    www.darkroomagic.comrorrlambrec@ymail.com[/URL]
    www.waybeyondmonochrome.com

  8. #8
    Roger Cole's Avatar
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    Hummm... ok. But you could do the "dry run" without paper in the easel or with a scrap sheet turned back side up for focussing. That's what I do.

    Not that it matters - of course do what works for you. I was just curious if I was missing something and should get the filter and holder for my enlarger.

  9. #9
    RalphLambrecht's Avatar
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    As you said, there is more than one way. To me, it's more convenient to expose right after trying out the right 'position' for the dodge or burn. When I have to get the paper after the trial run,I seem to 'forget' the exact position for small-area burns and mess it up a bit.
    Regards

    Ralph W. Lambrecht
    www.darkroomagic.comrorrlambrec@ymail.com[/URL]
    www.waybeyondmonochrome.com

  10. #10

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    Another way to do it.....

    I usually have two "tools" in my hand. "Dodge/burn" tool will be held my left hand in approximate position on top and a blank sheet will be held my right hand covering the entire area of paper under the tool. I set my timer to "metronome" position and set it few seconds longer. The extra second will be used to align the tool with paper covered. Then, at the right timing, I remove the card on right hand.

    More complex to explain than do it.... it works for me.
    Develop, stop, fix.... wait.... where's my film?

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