Durst Graduate Enlarger

[Randy Stewart]

To clarify for those not well versed on durst folklore, up at least up to 1980, durst made full range sets of multi-contrast filters for insertion into filter trays in the light heads of their enlargers. Rather than the flimsy, floppy gelatin filters made for Kodak or Ilford, Durst filters were made of dyed hard plastic like used for Lee or Hi-tech camera lens filters today. They are much easier to handle and clean. I suspect that these sets were phased out as Durst started making dichroic filter heads for all of their enlargers.

 

[Tina Kino]

Thanks @Randy Stewart - I appreciate the feedback!

So far I haven't seen any of those on the used market here - one reason why I'm hesitating to buy that Graduate enlarger although it's fairly priced, and in fantastic condition, considering its age..

 

[BMbikerider]

I have owned one Durst enlarger and it was similar to that one but only had a short column and as soon as I could afford to, I changed it to a LPL7700. It wasn't so good as the Durst for B&W but as I was graduating into colour printing that didn't really worry me. I still have the LPL7700 but have started using an LPL6700 (Acquired for free) which I find to be not so clumsy to use, and the colour filtration dials are clearer. I would still prefer a condenser enlarger though for B&W

 

[cliveh]

Thanks @Randy Stewart - I appreciate the feedback!

So far I haven't seen any of those on the used market here - one reason why I'm hesitating to buy that Graduate enlarger although it's fairly priced, and in fantastic condition, considering its age..

I would buy it. You can always solve the filter system later.

 

[Tina Kino]

@cliveh ..I most likely will, if I do settle on a consenser

 

[Tina Kino]

would still prefer a condenser enlarger though for B&W

..why, because of the more contrasty look?

 

[cliveh]

You will sometimes hear about the snap produced in a print with a condenser enlarger and because you get more contrast, you can adjust your film development so you wont need to add contrast with filtration.

 

[BMbikerider]

..why, because of the more contrasty look?

Not exclusively, it is because with a diffuser enlarger for a given light output from a 100w halogen bulb there is a light loss with diffusion. This means exposure times are a lot longer than they need to be even with a 75w bulb in a condenser enlarger. I was working yesterday in the darkroom and making 9.5x12 prints and the exposures varied between 35 and 45 seconds and that with with my Rodagon 50mm apo lens set at F5.6. That does not give me the best aperture to get the sharpest image which I have found to be F8 which of course would in theory double the exposure time. In addition the negatives I were using printed nicely without any filtration, I.E. G2. Introduce filtration and the exposures are getting longer again. When I print 120 negs, I use an older 80mm Rodagon with a maximum apperture of F5.6 and that has to be stopped down to F11 making exposure time quite a bit longer.

When I printed colour negs, the paper is so much more light sensitive, so even with quite dense filtration, exposure was only very rarely in excess of 25s I no longer print colour - I was finding it too expensive so B&W won out.

I also used to own a simple Durst B&W enlarger (Now regrettably sold on) that would print up to 12x16 and with below lens filters the exposure times were around the 30-40s at most mark for a larger print, even with the lens stopped down to F8. But going back to your comment of a more contrasty image that also has it's downside because can accentuate grain and any dust or scratches, fortunately I did not seem have a real problem with any of them.

As an 'add on'. I could also use a LED bulb which consumes less power, produces more light, and does not heat up as much so I can use a glassless carrier with 120 negatives.

There are plusses and minuses between both diffusion and condenser systems, but on balance I think condensers are almost certainly better for my purposes

 

[Tina Kino]

Thanks @BMbikerider for the elaborate response, I appreciate it!
While I'm fairly experienced in regards to developing film, I'm frankly still struggling to wrap my head around the details of enlarging as I'm about to build my first own setup for printing at home.
Very helpful reading your post, thanks again!

 

[cliveh]

Kino, are you thinking of just printing black & white and/or colour.

 

[Tina Kino]

@cliveh ..only black and white!

 

[cliveh]

@cliveh ..only black and white!

Then I would have thought this would be ideal.

 

[BMbikerider]

Thanks @BMbikerider for the elaborate response, I appreciate it!
While I'm fairly experienced in regards to developing film, I'm frankly still struggling to wrap my head around the details of enlarging as I'm about to build my first own setup for printing at home.
Very helpful reading your post, thanks again!

No problem just glad to help someone new to the fold of darkroom printing. You just need to ask.

 

[Tina Kino]

@cliveh ..thanks again for the recommendation - unfortunately somebody else was quicker and that enlarger is gone, but I'll keep my eyes open

@BMbikerider ..cheers! I don't want to hijack this thread with my beginner questions, so if you (or somebody else) would be able to point me towards a good "darkroom for beginners" article that would be appreciated. The threads I'm seeing on this forum all seem rather specific already; I shall dig deeper and post in the respective threads

 

[Nicholas Lindan]

...point me towards a good "darkroom for beginners" article...

For that your best resource is a book. If you are lucky enough to have a library that still has books, that is.

Ilford has a series of Youtube videos on darkroom work, but they don't go into much depth.

Beyond Monochrome by Ralph Lambrecht, one of the regular posters here, is recommended though a bit beyond the 'for beginners' level.

 

[Tina Kino]

Thanks @Nicholas Lindan - I'll check it out!

 

[MattKing]

There are a lot of Kodak specific references in this, and some are to things like Kodak papers that haven't been made for years, but this is a bit helpful for some: https://125px.com/docs/techpubs/kodak/AJ-3-2016.pdf

 

[Tina Kino]

..this is quite helpful indeed, thanks @MattKing I appreciate it

 

[MattKing]

..this is quite helpful indeed, thanks @MattKing I appreciate it

I'm glad.
And if you find it helpful, that helps us understand your level of knowledge.
Books by Henry Horenstein are one of many good options - like this one: https://archive.org/details/blackwhitephotog0002hore

 

[Tina Kino]

that helps us understand your level of knowledge.

I probably should have summarized that earlier -
my level of knowledge is "advanced" I'd say, in regards to shooting and developing film - I'm experienced at least with black and white (also done some C-41 and E-6, but not much).

What I'm not experienced in is making prints in a darkroom - I did learn that while studying arts, alas many moons ago, so I know the basics but have not done it a lot.

Books by Henry Horenstein are one of many good options - like this one: https://archive.org/details/blackwhitephotog0002hore

Thank you for this - that's a great book!
I really like how it's presenting the topics, and how neatly and concise it puts things. Like the layout and overall feel of it as well.

While there's not much in there for me in regards to shooting and developing film, I already did learn a few things about printing

Thanks again!

 

[MattiS]

My guess is that the Durst "Graduate" is marketed in Europe as M305. You´ll find them at Kleinanzeigen for app. 100€. If you are nor sure to stay with 35mm, better look for a bigger model, e.g. the M605.

 

[Tina Kino]

Thanks @MattiS - yes they're quite similar, yet the M 305 is heavier (more metal / less plastic parts) and has a more robust column.

I'm sticking with 35mm for the foreseeable future, but do consider getting a color head (so the M 305 color), which is of course a bit more expensive

Thank you for your feedback!