Bill: the DPP processes identically, but it is FB which is going to be a problem to wash...

Quote Originally Posted by clothesontheline View Post
How could I make a positive-copy from a direct positive? Wouldn't I first need to contact print the direct pos. into a negative, and then make several positives from that negative? Or is there an easier way?
You would contact-print it onto another positive sheet. However, DPP is high contrast (as are all these papers), which means the copy will be even-higher contrast and basically useless (all detail lost in both highlights and shadows). Best way to copy it is with a photocopier

Quote Originally Posted by clothesontheline View Post
TO ALL: I would loooovvvve a cut&dry answer to my question of which type of photography paper to get for my project as described throughout this forum... At this point I think that I should get between 75 and 100 sheets of 5x7 paper, and am heading toward VC b/c I am not a pro and dont really want to mess with the graded stuff. All I want is a solid print. For VC, do I need "filters" of any type or are they just for special effects. Also, If I do acquire an actual red-filtered safelight, does it matter which brand I get for VC: Arista.EDU? Kentmere? Are you guys familiar with Adox? Or should I not risk it and go with the high quality Ilford?
Buy the cheapest RC VC Gloss that you can get enough of; personally I would suggest the 100x5x7 Arista.EDU unless the shipping makes another brand cheaper. They are all excellent quality with no risks attaching to any of them. Kentmere has a speed advantage but it's not necessary. Use red LEDs for the safelight and it will be fine for all the brands. Don't buy FB (it's harder to process), don't buy graded (no greens!), get Gloss finish because it will contact-print the cleanest.

You don't strictly need filters. Filters are intended for darkroom printing when deciding how to interpret a negative onto the print, they allow you to adjust contrast. Exposing the paper directly to scene light is a bit of an abuse and will result in wonky contrasts but there's basically nothing you can do about it with this cheap approach so ignore it. If you want to avoid that problem, use film because that's what's designed to capture a scene.

If your prints have too much contrast (very likely), use a yellowish filter under the lightbulb when making the prints from the negatives. If your friend has a set of Multigrade filters, try to borrow the #0 filter. You can also try using a yellowish filter in front of the pin-hole to reduce contrast a bit. Consider it advanced technique for trying once you've had a few successes.