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#11
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Times
There are time/factors in the Filtration wallet you have for Kodak paper which can be used as a rough guide to changes of exposure time, but as you are using FUJI paper which by experience I have found ist slightly faster than Kodak paper so they are largely meaning less. Even with Kodak paper I found them to give excessive compensation. For me it is largely calculated guesswork! That come with using the materials regularly over a long period.
My DUKA Lamp is approx. 8" x 4"long at the base (Which also houses thetransformer) but the lamp house is a hemisphere about 8" wide and 7" deep. The overall height is approx. 10". The whole thing can be stood on it's base, or hung on a wall using the two slots in the base. (You have to fit two screws in the wall and hook the lamp over them - it is quite secure). The lamp house can be moved in an arc so the light can be reflected off a ceiling or wall which gives a more even spread of light. If you do get one, when you switch it on, the lamp only gains in intensity to it's brightest over several minutes so it is best to switch it on a short while before you start work. With B&W work it is superb and can be used with the light baffles fully open with no risk of fogging the paper. Last edited by John King; 23rd May 2017 at 09:41 AM. |
#12
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Just to elaborate on what John has said: As I understand the DUKA there is some danger of it not being "safe" until it has warmed up completely. So as John has said it is best left on during the whole printing session so if you have a break for a cup of tea/ snack or a meal then leave it on unless you are prepared to wait a few minutes after switching it back on again.
Just one more thing which might not affect you: If you use the DUKA for B&W then you may not be able to safely turn it off while analysing the negative and then exposing the paper for the time required as the RH Designs Analyser Pro requires you to do. I use the word "may" in that I cannot be sure quite how long it has to be off before there is definitely an unsafe warm period to be gone through again. Anyone tried this out with an Analyser Pro? Mike |
#13
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Some more Duka info! If you get one, make sure it is the Duka 50. I assume that's what John and Mike are talking about. The Duka 10, or 20, I can't recall the number, is a different type of lamp. Also, if you switch on a Duka 50 in daylight, perhaps to test your purchase, you won't see any light. I almost had my first one wrapped to return it before I realised it was working. I agree with Mike about the warm up being required to make it safe. I think the instructions say 5-10 mins.
Alex Sent from my iPhone using Tapatalk |
#14
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I've not used my Duka 50 much but when I do I point it straight up and use a piece of black card to block some of the face on the few times I have printed colour to be on the safe side as using it without caused fogging (the lamp in it is old so it may have started to emit on other frequencies, IDK).
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#15
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Duka 50
Quote:
They are available new from Process Supplies, near Kings Cross Station in London........ but they are NOT cheap! |
#16
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The DUKA 50 lamp is obviously highly regarded, but I fear that it may be far too large for such a tiny space. Bearing in mind that I could very comfortably work by the illuminated colour dials on the enlarger.. Has anyone used an LED safelight? - Secondhand darkroom supplies have a 'Nova 5-star' safelight which is mains operated with 5 amber LEDs.
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#17
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I think the Nova 5 star is said to be OK with RA4 paper but check first. The DUKA only occupies a fairly small rectangle of space on a worktop or as I think has been said it can be hooked on a wall. In either case the lamp can be pointed at the ceiling and the reflected light luminence is good
Mike |
#18
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More colour print examples
I've been very busy recently, but here are some of my recent efforts, they were all taken on Agfa Vista 200 film which I also developed at home:
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#19
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They look pretty good Edmund. I take it that the gable end of the house in the first photo is a genuine pale blue colour. I wasn't expecting the gable end to be a different colour from the front's white so I confess to wondering if this was the blue shadow look that the camera sees but our eyes "correct"
Mike |
#20
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well done Edmund ,I like the middle one the best
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