Spin the enlarger around and look at the back of the plate that has the "Caution" sticker on it. There might be some markings indicating what model of enlarger frame you have.
The 23CIII colour head accomplishes the adjustment by switching out diffusion boxes, in the same way that the colour head for the 67 series enlargers work. The pictured head looks like those.I see no means of adjusting the negative size.
The back plate says it is a 23Cii Dichro. My manual does not mention adjustments for the lamp height, and there are no bellows, except to the lense standard. Mgb74 sent me the manual for the 23Ciii, and it looks identical. For the 23Ciii, the manual explicitly says no adjustments are necessary for different negative sizes.The 23CIII colour head accomplishes the adjustment by switching out diffusion boxes, in the same way that the colour head for the 67 series enlargers work. The pictured head looks like those.
How big is the light diffuser at the bottom of the colour head? If it is already big enough to illuminate 6x9, it will work with all formats that are smaller.
The other diffusion boxes will give you more light for smaller formats, and therefore speed printing times for those formats.
When you look at the bottom of the colour head - the part that goes down on to the top of the negative carrier - how big is the piece of diffusing glass?
If it is 6x9, you are fine.
I doubt you will have problems with overly long times, unless you are printing really dense colour negatives.
Thanks, Matt. It definitely looks large enough to cover 6X9.
More questions:
1) Everyone talks about how critical darkness is, but this enlarger uses the lamp to light up the three color dials so you can see, and it is definitely white light coming out.
2) On the photo below, there are two holes threaded for screws that light is coming out of. It doesn't appear to affect the projection, but I've not exposed any paper. Should I cover these?
3) While trying to learn to operate the enlarger, I tried to remove lens board but could not. There are two screws each on the flange below the lens board toward the front and back (see below, the top is toward the front) that appear to be attaching the flange to the lens board. The manual says that the lens board is supposed to kind of slide up and in. Is this maybe the previous owner's attempt at making a way to tilt the lens standard front to back? I can't get the lens out, and I don't want to apply more pressure. I guess I'll remove those screws and see...
Thanks again to everyone for the help.
View attachment 264418
Thank you! The manual described it so much more convolutedly (is that a word?). I was pressing up on the back side...The lens board mount is spring loaded. If you grab the lens and push it towards the back of the enlarger, the lens board should slide backwards against the spring. The front of the board will then be free of the mount and the board can be removed.
They might have been intended for f/stop setting illuminators.Yes, those two holes need to be covered, they really dont belong on the lensboard. They will cause overall fog and lack of contrast on a print otherwise.
If this is to be permanent darkroom... REMOVE CARPET. Anything else will make you disappointed in no time. For window make light trapped cover that you can still open/remove easily.
That might help, but I would suggest first trying burning in the T-shirt using the filter you are using.- On one of my prints, my son's white t-shirt was blown out even though his face and eyes were correctly. On the scan, there is plenty of detail in the shirt. If I have learned correctly from reading and videos, I need to use the 00 contrast filter to bring back details in the highlights, correct?
Print developer is a lot more active than film developer. If you intend to try HC-110 for prints, you will need to use it more concentrated, which tends to make it quite expensive.Is it possible/advisable to use HC-110 for paper? I bought some paper developer, but I wonder if HC-110 is usable in a pinch.
- On one of my prints, my son's white t-shirt was blown out even though his face and eyes were correctly. On the scan, there is plenty of detail in the shirt. If I have learned correctly from reading and videos, I need to use the 00 contrast filter to bring back details in the highlights, correct?!
...
Although I tried to align my enlarger by looking at grain, I had a hard time seeing anything at the edges.
Ha! I've been reading too much stuff. It was too clear and easy for me to find.It says right on the chart to use the Kodak settings for the Beseler. Want to borrow my snakebite kit?
- On one of my prints, my son's white t-shirt was blown out even though his face and eyes were correctly. On the scan, there is plenty of detail in the shirt. If I have learned correctly from reading and videos, I need to use the 00 contrast filter to bring back details in the highlights, correct?
Try this link: https://www.lesmcleanphotography.com/articles.php?page=full&article=21
With split grade printing, the most useful advantage comes when you use different mixes of contrast for different parts of the image. For example, say you get a good print using 5 seconds of each of the 0 and the 5 filters for most of the image, but not for the bumper. You can improve the appearance of the bumper by customizing (using burning and dodging) the mix and duration of the filter use for that bumper. For example, perhaps you will improve the bumper by adding in addition a 3 second 0 filter burn to just the bumper.
By the way, for convenience you may want to be using longer exposure times if you are going to be doing this.
As long as the ND filter doesn't skew the colour, it should be fine.If I am unable to get sufficiently long exposure times after stopping down, is it alright to use an ND filter along with contrast filters when printing? Or will that skew the effect of the contrast filters?
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