Outdated paper is likely to be fogged. While the use
of an anti-fog agent can same some of it its best just to
avoid it.
     The red safelights are fine for both graded and
variable contrast papers but are somewhat unpleasant to work
under. The recommended safelight filter is the Kodak OC. Do
NOT use an OA, this is an older type of filter intended for
graded paper and will fog VC paper. The Ilford equivalent
filter is the No.905.
     These filters are intended to pass as much visible
light as possible so that the darkroom is easy to work in
without passing light the paper is sensitive to. However,
the red safelights quite satisfactory from the fogging
standpoint.
     Safelight filters can fade so should be tested. Both
Kodak and Ilford have test procedures on their web sites,
the Kodak test can be found by entering K-4 in the search
engine on their web site. Because the combination of
exposure to the safelight and to the enlarger results in
greater sensitivity to fogging a simple exposure to the
safelight will not tell you if its safe.
     The Kodak bee-hive safelight is a very common item as
are the filters for it. You should be able to find more of
them at pretty low cost.
     There is really very little difference among paper
developers. I would use whatever is conveniently available
to you.
     The requirements for fixing paper are more stringent
than those for film. Do NOT use partially exhausted fixer.
     A better method is to use a two bath fixing system.
The second bath remains relatively fresh and will clean up
after the first bath. When the first bath becomes exhausted
enough its tossed and the second bath moved up, the second
bath being replaced by a fresh bath. The capacity of this
system to fix paper completely is four to ten times the
capacity of a single bath. This system should also be used
for film.
     While the Iodide leached out of film tends to slow
down fixing it has relatively little effect on a two bath
system and relatively little effect of Ammonium Thiosulfate
(Rapid) fixer. So, if you are going to use the same fixer
for both film and paper rapid fixer is preferred.
     For paper you can use the fixer at film strength, but
be careful of excessive fixing times because acid rapid
fixer can bleach the image a little.
     There are a couple of ways to test fixing baths for
exhaustion. The best is to check periodically for clearing
time. This is the time it takes for the emulsion to become
completely clear in the bath. It is very hard to determine
this for paper but it can be seen easily for film. I suggest
using a scrap of film to test the fresh bath and test
periodically using a scrap of the same film. When the
clearing time doubles toss the fixer. This is OK for the
first bath of a two bath system but for a single bath will
result in excessively exhausted fixer. Soak the film for a
couple of minutes before testing because wet film fixes at a
different rate than dry film.
    Another test is to use a solution of Potassium Iodide.
This will produce a cloud of Silver Iodide in exhausted
fixing bath. Kodak gives the formula and method in their
darkroom handbook. Fixer test solutions are also available
packaged.
    Total fixing time should be about double the clearing
time. For the two bath system fix for half the time in each
bath.
    A further economy is to use a sulfite wash aid such as
Kodak Hypo Clearing Agent. This does several things but
among them is the ability to make some otherwise bound up
silver complexes soluble so it has the effect of partially
compensating for inadequate fixing.  It is also a definite
economy where water is at a premium.
    Standard Acetic acid stop bath is fine. If you use
rapid fixer avoid the use of Citric acid stop bath, such as
Ilfords, because the combination of Citric acid with the
Ammonium Thiosulfate fixer makes a pretty good bleach.
    The cheapest way to make up stop bath is to buy Glacial
Acetic (concentrated acetic) acid and dilute it to 28%
working solution. This is then used to make up the usual
1.5% stop bath. A liter of Glacial will make many gallons of
stop bath. Don't try to save the stop bath, just toss it.
    Despite the current trend to eliminate stop baths they
serve a useful purpose in preventing dichroic fog in the
fixing bath. A water rinse will work but should be thorough,
at least 30 seconds to one minute in water kept pretty
fresh. Eliminating the stop bath really has no advantage
despite some pretty strong fans of the method.
    Ilford makes good paper and, at the moment, seems to be
about the only paper manufacturer with good quality control.
IMO, most of the small manufacturers are using very old
technology and there are many reports of inconsistent
results. Fuji also makes good paper but does not sell it
outside of Japan.

  All that's needed for film and paper developers is ascorbic acid,
phenidone, and sodium carbonate and/or borax. For fixer all that is
needed is sodium thiosulffate. Water is often used as a stop. All but
the phenidone should be close at hand. Ten grams of phenidone will
make 250 liters of developer. Likely that would be mail-order.
  If Graded paper is available a higher level of lighting can be had
in
the darkroom. I've a few orange-ish yellow safelights. Very easy to
see and do in my darkroom. Dan