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Help needed: ZVI Cold Head + Stabilizer

BHuij

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Oct 12, 2016
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Utah
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Yesterday I stumbled into the deal of a lifetime on Craigslist, and picked up the following setup for $150:

  • Beseler 45 MXT
  • EL Nikkor 50mm f/2.8
  • EL Nikkor 80mm f/5.6
  • EL Nikkor 150mm f/5.6
  • Zone VI Cold Head + Stabilizer (intensity dial + dry down compensator), with original (bluish) bulb
  • Negative carriers for 35mm, 6x6, 6x7, and 4x5
  • Close to 1000 sheets of various 8x10 paper that was stored in the refrigerator (may still be fogged, it's pretty old)
  • Gralab 451 timer
  • Some contrast filtration (Kodak under-lens)
  • An insane amount of accessories of all sorts, such as extra Gralab 300, Time-o-lite, 8 steel 35mm developing reels, etc. etc.
Couldn't believe my luck. Everything appears to be functioning normally.

After doing a couple of hours of research and reading, I think I understand how to use this cold light (never used one before on any enlarger). Just wanted to run a few things by the experts to make sure I'm not getting this wrong.

  1. Heater cord from the cold light should be plugged directly into current, while the lamp cord should be plugged into the timer, which should in turn be plugged into the stabilizer, which itself is plugged directly into the wall. In addition, the 3-pin cord needs to plug directly from the stabilizer into the cold head. Is this correct?
  2. It is normal for the stabilizer to indicate green light up until roughly 1/3 of the way up the intensity scale, when it goes over to red "unstable" indicator, and I should be using the intensity slightly backed off from the highest point at which it will give me green?
  3. Since this blueish light was intended for graded paper, I should basically expect it to work less predictably with contrast filters, and overall contrast will be shifted up, but it will be workable and repeatable, right?
That's all I had. Can't wait to start making prints this week, still reeling at my insane luck. Thanks in advance.
 
Wow, what a deal!

How 'bout I just provide you with the instructions...

 
Now that works. Thanks!

Follow up question in case anyone knows:

I've been reading that a CC40Y filter can correct the bluish light so that it will work more closely to the way an incandescent bulb does in terms of contrast filtration. From my reading, it's hard/impossible to find an actual CC40Y gel, some people were just stacking a CC30Y and a CC15Y. I can't seem to find anything (even at Rosco's website) with these particular labels. Is there a gel or combination of gels that would be roughly equivalent to CC40Y, which I could buy a sheet of and cut a circle out to sit inside the diffuser?
 
You may also want to research the V54 tube a bit. This tube, made by Aristo, is blue/green and very compatible with VC papers. Don't know if it would be compatible with your particular head or if you can even find one, but it might be something to consider for the future.
 
I've looked into it. At this point I'm using the cold light because it's what I have. If I can get it to work consistently by gelling out some of the blue color, all the better. But if it's not working out for me, I think instead of buying a super difficult to find and expensive cold bulb, I'll just pick up a standard condenser lamphouse and be done with the cold light
 
I'm a dyed-in-the-wool cold light user but if I were starting out with a new setup I'd go for a color head which works well for VC paper. Aristo has been bought out and the cold light equipment basically no longer in the catalog but if you're interested, they will make tubes to order. They are not cheap. Search APUG for Ken Nadvornick and Zone VI for lots of info.
 
I understand the obvious advantages to cold lights vs a traditional incandescent condenser head (lower operating temperature, slightly less energy use, and a diffuser head instead of condenser if you prefer that). But other than that, is there a good reason to go to a cold head from another type? I'm just curious, it seems like for anyone printing on VC paper the disadvantages far outweigh the advantages.
 
BHuij said:
But other than that, is there a good reason to go to a cold head from another type?
Click to expand...

Many would claim that a coldlight head provides smoother tonal transitions, especially in the high values. Also, folks go on about the higher contrast inherent in the print from a condenser light source. IMO, hogwash! If your film is developed properly for the light source used to print it, each will provide acceptable prints. Personally, I never cared for the effort required to keep the condenser(s) clean so I moved to a coldlight head early on, since I planned to print only B&W. Somewhat later, I bought an Aristo CL4500 coldlight unit with the V54 tube and have used that for about 30 years.

Personally, I think your best option is a color head; as others have already recommended.
 
I've used condensers my whole life, from my dad's 23C when I was younger to the old B22 I picked up when I decided I didn't want to keep driving to my parents' place every time I started jonesing for a good printing session. I've been totally happy with them. When I started shooting 4x5, I was printing with a DIY lamphouse that clipped to the back of my lightweight 4x5 in place of the ground glass, and it was a diffuser type back. Also totally happy with that. Apparently my work isn't so technically great that I need to differentiate too much between diffusers and condensers; I have a hard time telling any difference in the final results

I am going to go ahead and order the rough equivalent of a CC40Y gel to stick in the diffuser and see if that gives me results I'm happy with. I suspect it will. Hopefully this means I won't have to go buy another head anytime real soon
 
The cold light will work fine with VC, put in a yellow filter. You can always use graded paper. Ansel Adams thought that the head and stabilizer you have was the greatest thing ever! I have a Zone VI VC cold light head on one of my Beseler 45 enlargers, I use a Metrolux II timer and do split contrast printing works great. Before I would change heads I would work with what you have which IS AWESOME. You can do split contrast with under the lens filters and two exposures. (Google Darkroom Dave on YouTube split printing) What you have was absolute state of the art in the late 80's
Get used to it and you will never want to change. I have Dichro colorheads for 4x5 too works great for VC and color. But for split contrast printing which is a VERY POWERFUL TOOL your head will work fine. Check out Darkroom Dave, it's very straight forward and easy.
You have everything you need, just get going. You bought 3000 bucks worth of stuff for 150
I love digital photography, all the damn fools getting rid of stuff that I could never hope to buy. No substitute for a real OPTICAL print. Now go find some body selling Hasselblads and Leicas at a Garage sale for 100 dollars for a big box full.
Best Regards, Mike
 
I had the same lamp as yours and used it just fine with the yellow filter placed just under the lamp above the negative stage and the filter below the lens. (I sold that lamp years ago) I now have the newer Aristo lamp from the company that makes it... I think now called Nuarc or something like that. Louise Kessler was the one to communicate with...a great and knowledgeable person. I almost liked the old setup that you have better. The new lamp is VERY aqua color and stopped down the image is difficult for me to see enough to do fine dodging and burning. With a filter it gets even darker. I am able to do it but the color of the light makes it difficult. But it sure makes gorgeous prints! Yours will do the same....Good luck!!
 
So my under-lens filter is one of the Kodak sets which uses three screws to clamp onto the lens. Unfortunately it isn't large enough in diameter to fit around my EL Nikkor 150mm f/5.6. I can hold one of the filters under the lens just fine, but that's not going to work for dodging and burning. Can anyone suggest an under-lens filter holder (or entire system) that would work with this larger barreled lens?
 
It's been a long time since I used a Beseler. I have an Omega D2. But what I have done with other enlargers, besides my D2, is buy the Omega filter holders and then one way or another attach them to the underside of the enlarger in place beneath the lens. That way they are not attached directly to the lens, which I have never thought was such a good idea. The Omega holders are metal and very sturdy. I made them for my Leica Focomat 1cs and they work very well. You can find the holders on eBay. If I see one I will link it here.
 
BHuij said:
Sorry for the double post, looks like the Rosco Cinegel #4530 and $4515 available at B&H are direct equivalents to CC30Y and CC15Y. Thanks!
Click to expand...

Even just the Rosco CC30y filter seems to work fine. Haven't tried to 2 in combination. FYI, I purchased mine at a local theatrical supply house.
 
Thanks for the input. I think I'll just rig up something to hold my Ilford MG filter gels underneath the lens, shouldn't be too complicated (I have the smaller size which I use in my B22 that should fit neatly under the lens).

Already ordered both the CC30Y and the CC15Y equivalent, so I'll try just the 30 as well as stacking both to see what works best. Looking forward to getting this thing up and running! I did a little printing yesterday and confirmed that the blue light is far too high contrast for my negatives, which are standardized around Grade II.
 
BHuij said:
... Already ordered both the CC30Y and the CC15Y equivalent, so I'll try just the 30 as well as stacking both to see what works best. ''
Click to expand...

Let us know how the comparison (30 vs 30+15) works out. In particular, whether you have a fairly linear range of contrast from grade 1 to 5.
 
Another gel option for you would be to search out a Beseler color printing filter set. Probably too late now to be relevant to you, but a good second option. I bought a cold head from Barry Dial on here a while back and he sent these filters along with it. There is a CC40Y included. I would show examples but I just finished fixing my stabilizer last week and haven't made a print yet!
 
I actually have a color filter set by Beseler, but 5x5" doesn't seem large enough to cover the entire diffuser circle on my lamphouse, and I'd prefer to limit how much filtration I'm using under the lens to the bare minimum.
 
Yeah I think they sold these in sizes for a 23 and 45 beseler based on some information from the carton. Maybe you have the smaller size. The set I have fully cover the diffuser between it and the negative carrier.
 
Right, I have the larger ones, but I thought leaving any diffuser uncovered (even if the 5x5 filter obviously covers the area of the negative carrier that actually matters) would result in some blue light making it through the lens. Is this incorrect?
 
Good question :/ I wouldn't think so, but haven't gotten a chance to try and see if there are any adverse effects. I'm hoping to print with this setup tonight and report back. There are only the tiniest slivers of the diffuser uncovered with the filters I'm using (I think they are 6x6).
 
You may be right about that, 5x5 would be pushing the limits even if it was sandwiched with the film. Let me know how it goes. Meanwhile I have already ordered the gels from B&H, so I'll plan on just cutting out circles that completely cover the bottom of the diffuser.
 
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