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Photo Forum / Film Photography / Darkroom / April 2005im setting up a darkroom for the first time - enlarger advice please
im fresh out of highschool and am setting up my own darkroom in by basement. i already have everything i need; with the notable exception of a enlarger. im fairly experienced using an enlarger but totally ignorant when it comes to recognizing quality. i was wondering what things i should be looking for, what brands or models are trustworthy and which arent, what features do i or dont i need, etc. I definately want something beyond the basic, starter kit kind of thing because i do intend to get years of mileage and work out of it, but am of course limited financially. im looking to ideally spend a maximum of 500 on the enlarger and im thinking used is probably the best idea. just in general what is the key to a good enlarger? what element overridingly makes an enlarger good or bad? im very curious to learn as much as i can before i invest all this money I have 2 enlargers. One is a 70-year old beast (Omega DII) that I found at a garage sale for $50. I cleaned it up and it works just fine for my 4x5 B&W negatives. My other is a nicer Beseler 23CII with a Dichro head. My advice is to get one with more capabilities than you think you might need. For example, I never ever thought I would get into large-format photography (4x5) so I thought the Beseler 23CII would be more than I ever need (the 23CII handles everything up to medium-format negatives). But then I got into large-format and luckily found myself the Omega DII. The Beseler 23C (23CII, 23CIII) enlargers are great if you don't think you will ever shoot beyond medium-format. My other advice is to get something popular so that parts are easily found. The Omegas and Beselers are the Chevy and Fords of enlargers. They may not be the finest, but there are tons of them out there and parts are easily found. With a $500 budget, you should be able to find an enlarger with a dichroic head if you ever choose to get into color work. These are very nice for B&W work as well. Have a look at eBay. > im fresh out of highschool and am setting up my own darkroom in by > basement. i already have everything i need; with the notable exception [quoted text clipped - 9 lines] > makes an enlarger good or bad? im very curious to learn as much as i > can before i invest all this money I think the advice the last poster offered below is excellent. I have my original Omega B-22 with cold light head - does a great job on 35mm, 21/4x21/4, even my Horizon 202 paroramics 24x54mm ( I built a custom negative acarrier)- all B&W. But if you got a color head, you could find the filter factors to change contrast with VC paper instead of printing through filters and constantly doing more test strips to get the exposure for each contrast level correct. It is so much more convenient! Likewise, I was given a 4x5 camera. Some are fairly cheap. I don't develop the negative, I just use Polaroid Type 55 which gives a B&W negative and positive.What fun. I don't use it too much because my only option with my setup is contact printing. So I too would suggest you consider that you might want to do 4x5 down the road, and that a color head might be very useful in B&W work as well as providing the ability to do color if desired. I think spending a bit more now on a bigger & better enlarger is cheaper than buying 1, selling it and upgrading. Don't forget to size your counters and ceiling heights accordingly!! >I have 2 enlargers. One is a 70-year old beast (Omega DII) that I found > at a garage sale for $50. I cleaned it up and it works just fine for my [quoted text clipped - 34 lines] >> makes an enlarger good or bad? im very curious to learn as much as i >> can before i invest all this money okay thanks for the advice. i have a few questions: -what is a "dichroic head"? also what is the difference between a colour head and non-colour head? i was under the impression that you only needed bulbs with different colour temperatures for doing colour. -also what affect does the colour temperature of the bulb have on black and white paper? -for an enlarger to handle 4x5 it has to be considerably larger or have a bigger carriage or what exactly? i dont totally understand -most "regular" size enlarges like the types you mentioned above can handle up to medium format, correct? or are there enlargers that can only handle 35? thanks a lot for your time > okay thanks for the advice. i have a few questions: > > -what is a "dichroic head"? also what is the difference between a > colour head and non-colour head? i was under the impression that you > only needed bulbs with different colour temperatures for doing colour. A dichroic head has dichroic filters built in. A colour head is normally understood to mean a dichroic. A non-colour head can make colour prints with the use of add on filters but just turning the knob is easier. > -also what affect does the colour temperature of the bulb have on black > and white paper? Which kind graded or VC? Unless you're looking at an older cold light head then I doubt it's an issue with any head. VC paper needs both green and blue light. Green for low contrast blue for high. Some older cold light heads put out mostly blue light. > -for an enlarger to handle 4x5 it has to be considerably larger or have > a bigger carriage or what exactly? i dont totally understand It needs to put out light that covers the 4x5 negative at the negative stage. It's the head that matters. > -most "regular" size enlarges like the types you mentioned above can > handle up to medium format, correct? or are there enlargers that can > only handle 35? You can find 35mm only enlargers. They mostly tend to be low end consumer models. In today's market no excuse going with budget models. The high end stuff is often no more money. Nick Partially correct answers below > okay thanks for the advice. i have a few questions: > > -what is a "dichroic head"? also what is the difference between a > colour head and non-colour head? i was under the impression that you > only needed bulbs with different colour temperatures for doing colour. From B&W World - "The term "dichroic" refers to the type of filters that is used between the light source and the negative; they are interference filters (as opposed to coloured glass or gelatin filters), where the transmitted colour and the reflected colour are opposite. e.g., a yellow interference filter shows a blue reflection, hence the term dichroic, "two-colored". They are used in colour heads (Yellow, Magenta, and Cyan filters) and for b/w variable contrast heads (Yellow and Magenta filters), where you change the paper contrast with the light colour. " The degree of filtration can be dialed in for each filter to insure you get the color balance you want. In addition, these same filters may be set to change the contrast grade for B&W variable color paper. > -also what affect does the colour temperature of the bulb have on black > and white paper? The filtration (as mentioned above) has an impact on contast if variable contrast paper is in use. I use a "cold light head" which is actually a flourecent tube. Other B&W enlargers use a frosted or a clear incandescent bulb. The choice of buld TYPE is more a function of your preference - diffused vs. condenser lighting. It is often said that condenser light sources (using lenses to "condense" the light) produce sharper prints but more dust shows up. Diffuse sources minimize the need for retouching and may produce a lower contrast result (without filtration) In any case, if various colors of filter are added above or below the enlarging lens, the change in in contrast. > -for an enlarger to handle 4x5 it has to be considerably larger or have > a bigger carriage or what exactly? i dont totally understand A 4x5 will necessarily be bigger all over. In addition, since a lot of 4x5 negatives are used to make significantly larger prints than 35mm will allow, 4x5 enlargers tend to have taller masts so that they can produce large prints. > -most "regular" size enlarges like the types you mentioned above can > handle up to medium format, correct? or are there enlargers that can > only handle 35? There are a few 35mm only. I wouldn't recommed this to you. At a minimum you should be able to do 35mm and 2 1/4 x 2 1/4. Who knows - you might want a Holga someday! I'd suggest Googling on the major players in used & new or go to a photo catalog web site like B&H or Porters to get a feel for what's out there. > thanks a lot for your time On 4/17/2005 10:27 AM Pieter Litchfield spake thus: >> okay thanks for the advice. i have a few questions: [...] >> -most "regular" size enlarges like the types you mentioned above can >> handle up to medium format, correct? or are there enlargers that can only >> handle 35? > > There are a few 35mm only. I wouldn't recommed this to you. At a minimum > you should be able to do 35mm and 2 1/4 x 2 1/4. Actually, better yet to get one that can do 6x9 (that's 6cm X 9cm, or about 2-1/4" x 3-1/4"), like the Beseler 23 C that I have. This is a bigger negative using 120 roll film, with a rectangular frame (with the same proportion as a 35mm negative) instead of a square frame. But yes, don't get a 35mm-only enlarger. They're not as good and enlargers are so cheap nowadays that there's no reason to.  Signature"I know I will go to hell, because I pardoned Richard Nixon." - Former President Gerald Ford to his golf partners, as related by the late Hunter S. Thompson ok, this is incredible, thanks a lot for your help. youve all really clarified the issue in my mind, i really appreciate it. there is one last thing that im not clear on exactly: could a condensor head be in effect turned into a diffuser by removing the condensor lens, or are there other factors to take into account? I dont imagine it could exactly resemble the character of a diffusion head, but is this accepted practice? I substituted a cold light head (diffuser) for the standard condenser in my Omega B-22. But it wasn't free! I wonder if you just put a piece of frosted glass under the condenser if that wouldn't do the trick in most enlargers. I don't know - just speculating. > ok, this is incredible, thanks a lot for your help. youve all really > clarified the issue in my mind, i really appreciate it. there is one [quoted text clipped - 3 lines] > exactly resemble the character of a diffusion head, but is this > accepted practice? >> ok, this is incredible, thanks a lot for your help. youve all really >> clarified the issue in my mind, i really appreciate it. there is one [quoted text clipped - 3 lines] >> exactly resemble the character of a diffusion head, but is this >> accepted practice? Many enlargers have replaceable heads. In fact, some are sold (new) without heads, and you've got to pick the head (or heads) you want to use with them. > I wonder if you just put a piece of frosted glass under the condenser if > that wouldn't do the trick in most enlargers. I don't know - just > speculating. There was a thread very recently about using frosted glass above the negative carrier for this effect. IIRC, some people said they'd done it, but the procedure had some caveats that I don't recall. SignatureRod Smith, rodsmith@rodsbooks.com http://www.rodsbooks.com Author of books on Linux, FreeBSD, and networking On 4/17/2005 6:56 PM Rod Smith spake thus: >> I wonder if you just put a piece of frosted glass under the condenser if >> that wouldn't do the trick in most enlargers. I don't know - just [quoted text clipped - 3 lines] > negative carrier for this effect. IIRC, some people said they'd done it, > but the procedure had some caveats that I don't recall. The consensus: bad idea. The glass will be close enough inside the lens' depth of field that you'll likely pick up the texture of the glass in the print. Now if you can get the glass far enough away from the negative, that might work. The problem then becomes getting the illumination even enough so you don't get hot spots or dark spots. Signature"I know I will go to hell, because I pardoned Richard Nixon." - Former President Gerald Ford to his golf partners, as related by the late Hunter S. Thompson > On 4/17/2005 6:56 PM Rod Smith spake thus: > [quoted text clipped - 8 lines] > The consensus: bad idea. The glass will be close enough inside the lens' depth > of field that you'll likely pick up the texture of the glass in the print. That was the early consensus (if you call two posts a "consensus"), but then somebody (C. Falise) said he'd actually used such a configuration and it worked without problems on 4x5 negatives. The thread didn't go beyond that, though. Here's the original thread on Google Groups: http://groups-beta.google.com/group/rec.photo.darkroom/browse_frm/thread/be26fc6 babb8cb96/ SignatureRod Smith, rodsmith@rodsbooks.com http://www.rodsbooks.com Author of books on Linux, FreeBSD, and networking I actually meant above the lens. My cold light head in an Omega b-22 has a frosted glass between the bulb and the lens. Why not do the same with a condenser? I don't hink it would focus above the lens. >> On 4/17/2005 6:56 PM Rod Smith spake thus: >> [quoted text clipped - 18 lines] > > http://groups-beta.google.com/group/rec.photo.darkroom/browse_frm/thread/be26fc6 babb8cb96/ With my Beseler 23CII, I can use either a diffuser or the condensors with the color dichroic head. It takes about 10 minutes for me to switch configurations. With a standard condenser enlarger, without a dichroic head, you can purchase aftermarket "cold" light source that converts a condenser enlarger to a diffusion enlarger. There are other ramifications of using a cold light however. Many "fine art" printers swear by a cold light head, but some of the real experts on this group believe there is little difference except for a grade of contrast. With your budget, I would be looking for an enlarger with a dichroic head that handles at least a 6x9 negative. The Beseler 23C series qualifies as does the 45MX (4x5 Beseler), the Omega D5, etc. Consider ditching the dichroic head if you wish to save some money. You can usually add it later if you want, and really, if doing B&W only it isn't necessary. I also think that optical color printing is sort of disappearing in favor of digital (although I firmly believe that B&W printing at home, using an enlarger, is the way to go). As far as evaluating used enlargers, the Beseler 23C models sometimes have broken gears. Parts are available and can easily be repaired. Alignment is often out-of-whack. When you get an enlarger, you can align it using a simple method with $1 mirrors purhcased at Home Depot. Otherwise not much else can go wrong as long as the focus and movement is smooth. If a lens doesn't come with, budget $75 or so for a nice 6-element lens like a Nikkor, Rodenstock Rodagon, or Schneider Componon. > ok, this is incredible, thanks a lot for your help. youve all really > clarified the issue in my mind, i really appreciate it. there is one [quoted text clipped - 3 lines] > exactly resemble the character of a diffusion head, but is this > accepted practice? great, thank you, i understand now. im pretty confident about this now, i really think i can come out of this happy > But yes, don't get a 35mm-only enlarger. They're not as good and enlargers > are so cheap nowadays that there's no reason to. Poppy-cock. The Leitz enlargers are most excellent - 35mm all the way to 6x10cm. On 4/17/2005 3:52 PM jjs spake thus: >> But yes, don't get a 35mm-only enlarger. They're not as good and enlargers >> are so cheap nowadays that there's no reason to. > > Poppy-cock. The Leitz enlargers are most excellent - 35mm all the way to > 6x10cm. Well, they're about the only exception. Signature"I know I will go to hell, because I pardoned Richard Nixon." - Former President Gerald Ford to his golf partners, as related by the late Hunter S. Thompson > im fresh out of highschool and am setting up my own darkroom in by > basement. i already have everything i need; with the notable exception > of a enlarger. im fairly experienced using an enlarger but totally > ignorant when it comes to recognizing quality. i was wondering what > things i should be looking for, what brands or models are trustworthy > and which arent, what features do i or dont i need, etc. I'm in the process of setting up a darkroom and was asking questions like yours just a few weeks ago. Thus, I'm by no means an expert, but the answers I got are relatively fresh in my mind. Other posters have given one class of answer, and I'll give another (which is by no means contradictory to what you've already been told, just different): For quality, look at general construction, particularly rigidity of the frame. A wobbly frame will result in blurry prints, particularly if, say, your floor shakes because you live beneath a roller coaster, like in _Annie Hall_. This is obviously easier to assess in person than from eBay ads. Another quality issue is the lens, which of course is even harder to judge from an ad. Common well-respected lens brands include Nikon, Fuji, and Rodenstock, but if somebody with more experience gives you lens advice, take it over my vague report. Fortunately, most enlargers take the same types of lenses (M39 screw mount), so replacing a bad lens is possible. Used lens prices on eBay are also pretty low, particularly if you're willing to watch a while for a good bargain. For brands, the ones that seem to be most recommended are Durst, Omega, and Beseler. Others, like Leitz and (I think) DeVere, can be even better but are likely to be very expensive. As with all products, of course, specific models vary in quality. > im looking to ideally spend a maximum of 500 on > the enlarger and im thinking used is probably the best idea. In the used enlarger market, $500 will go a LONG way. (If you meant US$500 -- if you're using another currency, it might or might not go as far.) If you check eBay, you'll see many that go for less than a tenth that. If you decide to buy on eBay, be aware of the cost of all the extras that are often included with enlargers -- timers, trays, tongs, safe lights, easels, etc. Picking these things up piecemeal can be costly and tedious. > just in > general what is the key to a good enlarger? what element overridingly > makes an enlarger good or bad? Physical rigidity and the quality of the lens would be the top two elements. Moving beyond that you get into personal preference and convenience features -- condensor vs. diffusion, color heads, control placement, heads that can tilt or swivel, etc. These may be very important for specific purposes, but most of them aren't really basic quality issues. In another post, you wrote: > -what is a "dichroic head"? also what is the difference between a > colour head and non-colour head? i was under the impression that you > only needed bulbs with different colour temperatures for doing colour. The main difference is between condensor and diffusion enlargers. The condensor design uses a bulb whose light passes through a condensor to focus it on the negative, and from there the light passes through the lens to the paper. They have heads that are tall and usually bulbous. Diffusion enlargers, OTOH, bounce or otherwise diffuse light before it passes through the negative, then the lens and to the paper. Diffusion heads are usually boxy. Condensor enlargers have a reputation for producing slightly sharper images, but they also tend to make dust and scratches stand out more. Most enlargers marketed as color models have diffusion heads. Different people have different opinions about which is better. A dichroic head is basically a sub-type of diffusion enlarger that's got filters fitted to it for color work. (You can theoretically do color work with any enlarger, but if it doesn't have built-in filters, you'll need to use filter packs.) Dichroic heads can also be handy if you use variable contrast B&W paper, because you can dial in the amount of yellow and magenta filtration you want, rather than use discrete filters. > -also what affect does the colour temperature of the bulb have on black > and white paper? I haven't investigated bulb temperature in any depth. Variable contrast B&W papers have different sensitivities to different light wavelengths, though, so bulb temperature might be important for them -- but then, you should be able to add filtration to compensate, if indeed it has an effect. > -for an enlarger to handle 4x5 it has to be considerably larger or have > a bigger carriage or what exactly? i dont totally understand It needs a bigger negative carrier, which in turn means that it needs to be bigger generally. Some enlargers can be converted to handle bigger negatives than the base model, typically by replacing part or all of the head. Also, you generally need a longer enlarger lens to handle larger format negatives. The general rule of thumb is to use a lens that's the same focal length as a "normal" lens for the film format -- for instance, 50mm for 35mm film. If you use a shorter enlarger lens (say, 35mm for 35mm film), you get light drop-off in the corners, but you can create enlargements with the head closer to the paper, which might enable you to make larger enlargements than is otherwise possible. Longer lenses may lose a bit of sharpness and require the head to be higher on the column for a given size enlargement. > -most "regular" size enlarges like the types you mentioned above can > handle up to medium format, correct? or are there enlargers that can > only handle 35? There are 35mm-only enlargers. If you only do 35mm and see a good deal on a 35mm-only enlarger, you could certainly get it. If you later start doing larger formats, you could then upgrade the enlarger. Given the way used prices are now, this is a perfectly reasonable approach, IMHO. OTOH, if you've a choice between a 35mm-only model and one capable of handling multiple formats at similar prices, go for the more capable model, all other things being equal. The extra capability won't hurt, and it could be helpful. If you know you definitely want to do medium format work, be sure that anything you buy can handle that size. (It's OK if it's missing a lens, as those are easily replaced, but watch out for missing negative carriers, particularly for old models -- those can be hard, and surprisingly expensive, to replace, based on what I've seen at B&H and on eBay.) SignatureRod Smith, rodsmith@rodsbooks.com http://www.rodsbooks.com Author of books on Linux, FreeBSD, and networking |
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