Darkroom Woes Can't even make a test strip

[Derrel]

How long are you developing your enlarging paper in the Dektol? Are you allowing for a good, full-term, proper development of the paper, for something like 90 seconds? The Duplex safelight is a wonderful light to work under, I love them!

I am wondering if the developer is at a decent temperature, like 69 to 72 degrees Farenheit, and that it was mixed up properly, and not say, accidentally diluted through some type of innocent mistake,like, oh, I dunno'...maybe adding an extra quart of water or something?

If the safelight is good, and the covered paper part (that which was underneath say a row of 25-cent pieces or a pair of scissors, a flat rocke,etc.) still looks pure white, we've eliminated safelight and light leak fogging; so...that seems to point to a problem in the developing solution, or the way it's used. Are you agitating the print in the tray? Developing face-down for 90 seconds, so you're never tempted to "yank" the print early? are you 110-percent, double-dog-darnit, swear-to-gosh-darn-sure the developer is mixed properly?

If the safelight test paper is not PURE white, you've got a fog issue somehow.

Was the paper shipped via an air carrier? Could it have gone through a horribly maladjusted, massive deep X-ray type machine at an airport?

 

[Derrel]

Ummmmm, you know, I just looked at those test strips again, and I hope this is not offensive--but are you sure you have the enlarging paper emulsion side up on the easel???????????

It can be difficult to tell emulsion side from back side on modern, resin-coated paper that you are not familiar with.

I used to be a darkroom monitor at a University darkroom with 13 enlarging stations and 6,7,8 people working at a time--I have seen a LOT of weird darkroom screw-ups. On some of the semi-smooth poly papers, the emulsion side is sort of like the back side, and it's not really super-clear-cut which is which sometimes to some folks.

 

[480sparky]

.....but are you sure you have the enlarging paper emulsion side up on the easel??????????.....
.

Good call!

 

[vintagesnaps]

Sounds like it might be the paper. Especially if it came with the enlarger; I've found condition can vary with paper that's been in some darkroom somewhere (depends on how it was stored and for how long).

I was wondering about what we were looking at because if it was negatives (I thought maybe 120 not 135) I think those can look different on a lightbox/brighter lighted surface. If those are test strips it looked to me like maybe the images didn't go all the way to the edge or something.

 

[meoce]

I had a similar problem when I set up my in apartment darkroom a few years ago. From what I recall a new lens and a set of filters fixed my problem. Make sure your lens isn't foggy, this could be your issue.

 

[BubbaBear]

Thanks for all the suggestions. I will be giving them a try. With regard to the filter do you mean a filter in the filter drawer just below the lamp or the filter holder below the lens? I have different safelights so I will try those too. I will make sure I am using fresh paper and chemistry. I plan to make each change interdependent of others so I can isolate the problem and hopefully know for sure what was the cause or combination of causes.

 

[timor]

Filter in the drawer is better, filter bellow the lens will work to, but remember, it is an optical obstacle and may influence in the print things like sharpness by diffussing and softening the light. Especially visible on the edges of the print. Filter above the condensor may also diffuse the light if it is dirty or scratched, but only that. This is an another trick with printing, with negatives which are a bit too harsh in contrast I use a fogged glass in the drawer to soften the contrast, effectively changing condensor enlarger into diffusing enlarger, softening the image and loosing somewhat too excessive grain.

 

[BubbaBear]

Ummmmm, you know, I just looked at those test strips again, and I hope this is not offensive--but are you sure you have the enlarging paper emulsion side up on the easel???????????

It can be difficult to tell emulsion side from back side on modern, resin-coated paper that you are not familiar with.

I used to be a darkroom monitor at a University darkroom with 13 enlarging stations and 6,7,8 people working at a time--I have seen a LOT of weird darkroom screw-ups. On some of the semi-smooth poly papers, the emulsion side is sort of like the back side, and it's not really super-clear-cut which is which sometimes to some folks.

No offense taken. I'm perfectly capable of that mistake but am sure I didn't make it. At least not everytime and I have made plenty of attempts at this. The exposures are way too short to have to go thru the paper.

 

[BubbaBear]

It's the safelight. Boy is it the safelight. I ran the test suggested of five minutes under the safelight then some keys and five minutes more and I might as well have turned on the white light. It's a rather bright yellow green and I always prefered red but it came with some stuff I bought. I want to use the Thomas Duplex but am not sure how to use or hang it. It appears to hang upside down and reflect off the ceiling but that won't work as I painted my darkroom the traditional black.

The paper is a secondary issue. It is expired. I can't find a date on the Ilford. Is is coded? I will buy some new paper. All of this paper again came with a darkroom I bought. Thanks again for all the help.

 

[timor]

Good going ! Mystery solved !
I don't know, how much you love Ilford papers, but if you in USA take a look at this :
NEW Ultrafine VC ELITE Variable Contrast RC Paper - Traditional Black-and-White Photo Papers
This are very good papers, I am using them for years. They have also FB version, maybe not as good as Bergger, but still nice.

 

[Dave442]

I think with the light output of the Thomas you can use it with the black ceiling.
I read an interesting article about these safelights here:
Thomas Duplex Super Safelight Archives - jbhphoto.com Blog