Barry Kirsten wrote:Are either or both of you developing by inspection in trays?
I don't, Mick. The main reason is that with my eyes and the safelight I use, I don't seem to be able to reliably see subtle changes in density. Probably age-related, but that's life . As to the safelight, I made my own consisting of a dozen 5mm LEDs having a very defined spectral response. Absolutely safe, but not designed for DBI as they do not present a diffuse illumination (Looking through a film I'm conscious of the 12 points of light, which makes identifying tonal changes difficult). As a general safelight, though, it's brilliant.
I have to say that I've never been a fan of DBI, probably because previous attempts with panchromatic film have required a diabolical green safelight which was impossible to see anything with. I much prefer to control everything (exposure, chemistry, temperature, time) hoping for absolutely predictable results. It sometimes works .
Barry, I know pretty much where you are coming from, going there, doing that!
I have been thinking about LED illumination for the darkroom, but I have a plethora of safelight filters that will probably see me out.
On another note, I have been a bit interested in having an infrared light and using infrared goggles in the darkroom. I have had some medical issues resulting in my hands having very little, to almost no feeling. This has made some things a little hard, holding sheet film is really a bit of an issue, although I have a work around. That said, if I misplace a sheet of film by letting it slip out of my hands because I don't know I have let it slip, finding it on a smooth surface (melamine) like my enlarger board, is a bit of a hit and miss affair.
During the Olympic games in Melbourne, my grandfather worked at the MCG, which was the track and field arena. He was allowed to have 1 hour either before or after his shift to walk around. He wasn't allowed to sit in an empty seat, but he could take pictures. He saved up money and purchased enough film to take one roll of film a day, which he did. We lived in Richmond and he walked to the MCG, which for those who don't know, is about 3km from the house.
When he came home, he and I went to the bathroom where some ruby paper was placed around a small lamp, then, with me sitting in the bath and he sitting on a chair, we see-saw developed each roll of film every evening. With my young eyes, I quickly became his eyes and knew when the cheap orthochromatic film was developed enough. That was my introduction to photography, been doing photography on and off ever since.
Negs were then cut up, (6x9) placed in a contact printing frame and contact prints were made. Some days I was allowed to help with exposing the contact prints, if it was a cloudy bright day, I walked with the little contact box held on top of my head, to the back fence and back. If it was sunny, I walked to the clothesline and back. It was really something to see those head prints come to life, I remember running with a wet print through the house to show my mother and grandmother and being horrified to see the print start to break apart from my arm swinging effort; such is life.