dancqu said:
Safelight color is one of at least three variables.
Intensity and duration of exposure are another two.
Paper handled in a manor which allows for little
exposure to the safelight can bring higher over-all
darkroom lighting levels. The light's pattern of
distribution is important. Dan
Dan;
It has to be a mighty flimsy safelight for what you state above to take place.
If a photographic material has no sensitivity to a particular region of light such as red, then if the red filter on the safelight has been properly designed to eliminate all other types but 'red', there is little or no problem with duration or intensity.
Use of inexpensive, poorly designed, or damaged filters can do what you say, but good ones will not. I have fogged blue sensitive emulsions with red safelights that were transparent to some blue light due to their design. A safelight filter, properly designed, is a true cutoff filter which allows no incorrect illumination to pass through.
It would be like putting a heavy opaque filter intended for IR photography over your camera lens and expect to be able to take IR pictures with a normal film. Neither intensity nor duration will allow this to take place, as the film is not sensitive in that region of the spectrum. And, it would require a very very long exposure under brilliant light to penetrate one of these "black" filters as they are true cutoff filters which eliminate the entire visible part of the spectrum.
PE
