What setting on your DUKA 50 is this? I think the 50 has a slider that goes from 0-50. I have the DUKA 10 and my slider goes from 0-35 but it is a reasonable assumption that my 0-35 covers the same shut to fully open as does your 0-50 so I can work out what your setting means on my 0-35. 80 seconds seems like a pretty good margin to me.
Thanks
pentaxuser
I mean no offense, but that seems like science fiction. You would need some serious equipment like a spectrometer. An emission source that is like a low pressure sodium light emitting very narrow lines.I thought Kodak papers had a notch cut in its (non)sensitivity for 89nm light - but it had to be +/- 1nm in accuracy. I never used one, but wonder if Fuji Crystal Archive had the same.
That's darn deep UV that doesnt even travel in air - good thing too, as it would be carcinogenic if it did!89nm light
That's darn deep UV that doesnt even travel in air - good thing too, as it would be carcinogenic if it did!
That is not what I observed when I changed from optical RA4 paper to Digital RA4 paper. I made the change about 2004 when I purchased the lambda, I also noticed that the colour of the paper was different if you just brought it out to daylight without processing..Bob, digital optimization was just a bit of boost in green sensitivity due to the green laser being weaker than red or blue, but not a significant speed change overall. Then there was an attempt to get blacks blacker - curve tweaking - which seems to have been the biggest complaint with early digital printers. But enlarger times are about the same, as is starter color pack. But RA4 papers are about six stops faster than what I was doing in Ciba. So when I stated that I use a little Jobo Minilux light for loading the reel holder, I meant just a few seconds at a time.
Fuji specifically states total darkness, no safelight. Maybe that's just being cautious or diverting liability, but when they state something, they seem to mean it.
Thanks. So about a fifth of the way along in terms of numbers. On my 0-35 this translates to about 7 Useful stuff to know and from someone who does RA4 regularly so has experience of what is safeIt is set between 9 and 10 which makes it easy to see what I am doing after a short while after the main light goes out. For B&W I always set it on 'full' and even without a red filter I have never had problems with fogging. I always work with the paper in my shadow from the light because the lamp is on the wall behind me but points to the ceiling so the light is even more diffused. The average exposure for a 12x16 colour print is between 20-30 seconds. (It is a bit longer for B&W as it is less sensitive and depending on the filtration)
Of course. Fuji has no control over how well somebody might test or maintain their safelight filters. And someone like me can't afford to screw up a thousand dollar roll of paper. So total darkness makes sense as the safest advice.
This is an overly simplified and technically incorrect assessment - not just for today's situation, but in general.The struggle with green diodes is inherent because green light is actually produced by filtering residual green out of a red diode.
You're not comparing apples to apples. I was referring to 40 inch wide rolls of polyester-based Fujiflex, not RC paper. It's an inherently more expensive medium and only comes in bigger rolls. It has a richer look, much like Cibachrome. Kodak has nothing comparable.
You're not comparing apples to apples. I was referring to 40 inch wide rolls of polyester-based Fujiflex, not RC paper. It's an inherently more expensive medium and only comes in bigger rolls. It has a richer look, much like Cibachrome. Kodak has nothing comparable.
what are affordable options for IR / night vision goggles to use in the darkroom? The ones I see on eBay are currently at 600USD.
I don't care about being in total darkness when doing enlargements and RA4, but for RA4 contact prints / proofs this is a nightmare so I am searching for a solution.
Or more accurately, RA4 plasticI believe Fujiflex is RA4 paper.
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