First darkroom in 28 years, 45MX help...

PKM-25 · Feb 5, 2012

So I have my own darkroom again, pretty stoked about that to say the least. I am having a couple of issues that need resolving:

1. I am missing the bellows / film format scale on the right side of the upper bellows. I can easily make a new one out of scrap aluminum but need the specs of the piece, correct distances measured out, anyone want to take a ruler to theirs and post the measurements?

2. I am using an Aristo Cold Light Head, my exposure times for Multigrade are super short, 2-4 seconds on a good negative at F/8 with my 90mm F/4 Apo-Rodagon, 120 film. I need to get the times up to 10-20 seconds to be able to work correctly, any ideas for trouble shooting?

3. I have a glass carrier, tried it out last night with a super curly 120 neg of Rollei ATP 1.1. I put the darn neg in upside down and got distinct and numerous newton rings....is this a carrier thing or an upside down neg thing?

Other than that, the prints look awesome, love that 90 Apo!

Mark Crabtree · Feb 5, 2012

I have the Beseler 4x5 glass carrier and it is indeed a regular newton ring factory. It is the base side (shinier, upper side if put in properly) that does this; the duller base side is usually fine. I find that taping the negative down to the lower glass is enough to prevent newton rings for me.

Tim Gray · Feb 5, 2012

2 - Can't really help you. I do know from the small amount that I printed 6x6 on my 23C-II, I had the same problems. It was pretty annoying. I guess I was just making too small of prints for reasonable printing times.

3 - Is it a regular glass carrier? If so, maybe get a sheet of AN glass for the top. Should help with newton rings. Focal Point should be able to cut you a custom sized sheet if they don't stock the right thing already.

jeffreyg · Feb 5, 2012

Are you using any filters with the MG paper? What size prints? You could also stop down more. I used to use the same light with 120 and 4x5 but with graded paper and don't recall exposures being that short. When I switched to multigrade paper years ago I bought the Aristo 4500 VCL and also never have such short exposures. Double check your lens to be sure it stops down. I can't help with the glass carrier since I don't have one.

http://www.jeffreyglasser.com/

Ken Nadvornick · Feb 5, 2012

2. Non-optical quality neutral density sheets from Roscoe or Lee can be used to cut a set of custom-fit, above the lens filters. I did this with my Zone VI cold light head specifically to increase my exposure times. (I like smaller prints.) Placed them inside the round housing, above the diffusion sheet. Or, optical quality density neutral filters can be used below the lens.

3. Yes, AN glass on top, fuzzy side down in contact with non-emulsion side of the negative. Some carriers include a clear bottom glass (my Omega D5 ones do), while some (LPL, I seem to remember?) use no lower glass. For 35mm negatives that usually have a slight concave bowing on the lower emulsion side the bottom glass is often not even required.

Ken

dpurdy · Feb 5, 2012

I used to have one of those side of the bellows scales but I think it fell off and found it's way into the recycling bin.
However if you are using a cold light head it is a moot point. You are supposed to keep the top bellows collapsed.
I do generally keep my top bellows open a bit, maybe an inch or two so that the cold light doesn't sit so close to the film.
When printing 4x5 you have to collapse the top bellows all the way but with roll film you can back it off a bit like I do.
Dennis

David Brown · Feb 5, 2012

PKM-25 said:
I am missing the bellows / film format scale on the right side of the upper bellows. I can easily make a new one out of scrap aluminum but need the specs of the piece, correct distances measured out, anyone want to take a ruler to theirs and post the measurements?

(From an earlier thread) Here are the indicator mark measurements for the different size negatives, all from the LOWER of the two screw holes:

4 x 5--one inch up
3 /14 x 4 1/4--2 3/16" up
2 1/4 x 3 1/4--3 1/4 " up
2 1/4 x 2 1/4--4 1/4" up
35mm--5 3/4" up.

Keep in mind that the precision required here is not very great. Actually, you can enlarge all the smaller sized negatives with the head set at 4 x 5, although that doesn't make greatest use of the enlarger's light intensity. If in doubt, just fudge a bit on the side of a bigger negative.

FWIW, I just bought one of these indicators on e bay fairly cheap because the seller had it listed as an Omega part and I just stumbled across it.

dpurdy said:
However if you are using a cold light head it is a moot point. You are supposed to keep the top bellows collapsed.

PKM-25 · Feb 6, 2012

Thanks guys, I put in a pretty big order for supplies and added in a set of large ND gels that I will use.
I modified my glasses carrier to keep negs flatter and did a session last night and it worked great, so I will figure out the glass one as needed.

And where can one find a full frame 6 x 6 carrier for the 45 series? I know SK Grimes can mill out a second carrier for me so that might be the ticket for now....

Thanks again!

semi-ambivalent · Feb 6, 2012

PKM-25 said:
Thanks guys, I put in a pretty big order for supplies and added in a set of large ND gels that I will use.
I modified my glasses carrier to keep negs flatter and did a session last night and it worked great, so I will figure out the glass one as needed.

And where can one find a full frame 6 x 6 carrier for the 45 series? I know SK Grimes can mill out a second carrier for me so that might be the ticket for now....

Thanks again!

PKM-25,

What did you do to modify your glassless (glasses) carrier? I'm rebuilding my darkroom and have Tri-X sticks 6 frames long with a horrendous curl. I'd hate to spend $200 for an ANR carrier if they don't work well.

s-a

PKM-25 · Feb 6, 2012

semi-ambivalent said:
PKM-25,

What did you do to modify your glassless (glasses) carrier? I'm rebuilding my darkroom and have Tri-X sticks 6 frames long with a horrendous curl. I'd hate to spend $200 for an ANR carrier if they don't work well.

s-a

Used black gaffers tape to both hold down the negative and shim the other sides, worked well last night, but the negs were not super curly either.
I just find that the glassless carrier lets a little bend pop up on the film, so shimming it worked fab, could have printed wide open.

tkamiya · Feb 6, 2012

What size are you printing?

Also, assuming you are using variable contrast filter, are you using contrast filters? While you can print without one and assume grade 2, exposure time will be very short. I always use filters even if it is #2.

Also, some paper are very FAST. Comparing Ilford MGIV and Adorama brand paper, the latter is about 3 times faster, so for small prints, exposure times are pretty short.

Is your aperture blade on lens working correctly and not sticking or stuck wide open?

PKM-25 · Feb 19, 2012

Tinkering around today, it turned out that the RC papers seemed faster, now printing with warmtone and they are slightly longer. I do have a question though, I am trying to optimize my setup for a production atmosphere and want to get info on the following:

I am currently using an Aristo D2 cold light on my 45MX, assume it is the V54, it has a single tube. Attached is a Metrolux II timer with lamp sensor and the easel probe. I know this timer is pretty well setup in terms of features but is there any reason to go to an RH Designs StopClock Vario other than F-Stop printing? While I could leave well enough alone and stick with what I have, learn to use it really well, I also know that I just want to cut to the chase in terms of efficient production if the Vario would improve upon what I currently have.

Tim Gray · Feb 20, 2012

I didn't have a timer before I bought my StopClock Pro. It's awesome. F-stop printing just makes so much sense for me. Yeah, it's expensive, but frankly, with the cost of FB paper nowadays, it's about equal to a couple packs. Having the extra channel for split grade printing and the programmable burn sequences is very cool too. I never really printed much before getting it, so I didn't have non f-stop printing ingrained into my thinking. It was very easy for me to just hop on board with that mindset, so for me, it was well worth it.

I don't know your timer. If it's working for you, then stick with it. If not, don't. Maybe sell some of that Tech Pan to fund the purchase

PKM-25 · Mar 6, 2012

I found out why my D2 head was putting out a lot of light, it's supposed to, it says "D2HI" on the back, LOL!
So I bought another D2 head for not too much money, figure I can use the D2HI for really big prints.

But now I am wondering about that purchase as I just ordered a Stop Clock Vario. It would seem the best way to get the most out of split-grade printing is with using a head like the Zone VI or VCL 4500. Before I start scouring for one of these, does it really make that much of a difference and how does one get the most out of split-grade without a VCL?

msage · Mar 6, 2012

1. Using the Cold lift you don't need to adjust the upper bellows for different format, leave it in the lowest position.

First darkroom in 28 years, 45MX help...

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