Horizontal Super Chromega D

I have an Omega D5 with Super Chromega D II head. Can this head be successfully and safely be used horizontally to make mural-sized prints?

You might need to tape the the top shut and make sure the mixing box cover doesn't fall off. Of course you won't have gravity to work against the balance springs so disconnecting them might make it easier. Otherwise I can't think of anything inside that isn't fixed in place.

Neal Wydra

I have this enlarger, too. I love it, nice piece of equipment!

I would assume it is possible in some way, BUT: The enlarger head cannot be turned 90 degrees to the side (as e.g. my Dunco allows that). It was not designed to be used in a different position than standing, mounted on a baseboard, as it relies on gravity e.g. in order to hold the enlarger head and the negative in place.

So you would have to lay down the enlarger on a table or something similar and dismount the baseboard in order to be able to project against the wall. Furthermore, everything loose would require proper fixing, such as mixing box, cover, negative holder, interconnection between head and bellows, etc.

Nothing easy, and does not seem very safe.

An easier and safer way would be trying with an enlarger which allows tilting the head 90 degrees (Dunco, I think some Durst and maybe others) or the enlarger add-ons existing for some LF cameras (e.g. Linhof Reprocord, "Graflarger", ... ). If non of that is available, I would personally go with a overhead / slide / digital projector, depending on the exact application.

What size of negative and print are you going for?

Thanks, folks. Maybe I should just build a support to mount it on a frame attached to the second story loft. I will be converting a detached garage to a darkroom and the ceiling above the loft is about eighteen feet high in the center. That's certainly high enough but a horizontal setup would be so much easier to use. OTOH, as has been mentioned, maybe I should look for an enlarger designed for horizontal projection such as a Beseler 45 MXT. I could also convert an old camera with a diffused LED panel and put the base on rails, I suppose.

Print size? As big as my fumbling hands can handle... 30x40 inch at least and 50x100 inch at most. BTW, I don't want to use a wide angle lens. I have a very nice 150mm I want to use.

What about 45 degree mirror under the lens?

gorbas said:

What about 45 degree mirror under the lens?

Click to expand...

I just bought an Omega surface mirror attachment design specifically for converting the D series enlargers to horizontal projection but it's not here yet. I fear that alignment issues will be a nightmare with this device and am certain the mirror won't be perfect so I worry these issues will degrade the quality of my lens.

A front-silvered mirror that is optically flat won't degrade the image from your lens appreciably. I assume this is what the Omega attachment is. Alignment may be a pain, but once you get it dialed in, there should be some way of fixing it in position or making mounting repeatable. Sounds like the best solution for an Omega D to me.

Best,

Doremus

You don't think there will be ANY image degradation using this device with a 150mm Apo Componon HM at 8x-20x? I realize this lens isn't optimized for 20x but it should do fairly well. Before anyone mentions this, I had to sell my 150 Rodagon G a couple years ago due to depleted funds and cash is too limited to buy another one.

Old-N-Feeble said:

You don't think there will be ANY image degradation using this device with a 150mm Apo Componon HM at 8x-20x? I realize this lens isn't optimized for 20x but it should do fairly well. Before anyone mentions this, I had to sell my 150 Rodagon G a couple years ago due to depleted funds and cash is too limited to buy another one.

Click to expand...

And hell, just finding a G is tough, regardless of cash!

I've tossed this issue around in my head as well - I've had some luck with 6x7 by mounting the enlarger on a plywood "box" with side-wings, and 3/8-16 t-handles that go into threaded inserts in the table - allows me to skip the stock baseboard and go very big on the table, gives me an extra 8" or so height. I can use credit cards or carpentry shims to get it level. I have a second set of those threaded inserts at the table edge, so I just slide the box forward and screw it down again, for floor projection. Have yet to make a print with that setup, but will soon.

For 4x5, I've been tossing around the idea of some sort of ceiling-mounted truss that would just hold, say, an Omega D head assembly. Been looking at the Aluminum pipe and fittings stuff we use for filmmaking, 1.25 or 1.5" pipe with various slide fittings that could allow the head to slide up and down and be locked into place. We make all sorts of rigs with that stuff on set, and the pipe can be cut with a chop saw. This would allow one to walk all the way around the print if there was an optimal spot for burning and so on. Haven't really gotten past the mentally picturing it stage though. I made a DIY Besalign lens board which is really just tits for dialing in fine alignment adjustments. That thing works like a champ.

Old-N-Feeble said:

50x100 inch

Click to expand...

ok, that is big. I hope you will share some pictures with us when you have fitted everything to get this size!

RauschenOderKorn said:

ok, that is big. I hope you will share some pictures with us when you have fitted everything to get this size!

Click to expand...

If the darkroom is ever built and running you can bet I'll post images and more information.

Check out Bob C's Omega D setup for big prints; copy the master and his details. For example he had posted his use of the condenser head with high wattage lamp, etc.

ic-racer said:

Check out Bob C's Omega D setup for big prints; copy the master and his details. For example he had posted his use of the condenser head with high wattage lamp, etc.

Click to expand...

Got any links? I'd like to see that...

I worked with an Omega D mounted without the baseboard and projecting onto a table with removable shelves (kind of like the Beseler Adjus-Table). Mounting as high as possible and projecting onto a lower surface can get you into the 30x40 range probably...

Doremus

M Carter said:

Got any links? I'd like to see that...

Click to expand...

Me too. I search for omega and Bob Carnie but didn't see it.

AS long as we're using alternative options.
Remove the head entirely from the column and make a rail system to move it back & forth.
Move the entire rail for coarse adjustment and a focusing rail to (ahem) focus.
Alignment of the creation could be adjustable on any axis given some thought.

John Koehrer said:

AS long as we're using alternative options.
Remove the head entirely from the column and make a rail system to move it back & forth.
Move the entire rail for coarse adjustment and a focusing rail to (ahem) focus.
Alignment of the creation could be adjustable on any axis given some thought.

Click to expand...

I thought of that but since the enlarger is in storage I can't easily look at how the head is assembled and mounted. I should move it to where I can see it better.

BTW, I have a rail system from an old 11x14 wooden B&J process camera. The camera is long gone but, other than some minor corrosion, the rail is fine and built like a tank. Maybe I could build a steady base for the rail and fashion a mount to fit the head on it. The rail is made from chromed tube steel and has cranks to move the platform for and aft keeping it extremely aligned. It's in storage too but IIRC it's about eight feet long.

M Carter said:

Got any links? I'd like to see that...

Click to expand...

I have a friend who has a Roberson 16x20 camera it's about 8 feet long. Power copy board, I want to get my hands on it and make a 11 x 14 enlarger. Ansel Adams had a process camera enlarger. Lot of work

. I use Beseler 4x5 MXT enlargers, I have one mounted in a drop top table that allows me about 5 1/2 feet from negative to easel. I have never made bigger than 20x24 but I'm sure you could make 30 x 40 s
My usual 4x5 lens is 150mm but 135mm will do fine as well
Best of luck! Mike

Old-N-Feeble said:

I thought of that but since the enlarger is in storage I can't easily look at how the head is assembled and mounted. I should move it to where I can see it better.

BTW, I have a rail system from an old 11x14 wooden B&J process camera. The camera is long gone but, other than some minor corrosion, the rail is fine and built like a tank. Maybe I could build a steady base for the rail and fashion a mount to fit the head on it. The rail is made from chromed tube steel and has cranks to move the platform for and aft keeping it extremely aligned. It's in storage too but IIRC it's about eight feet long.

Click to expand...

That sounds like a great start, Adapting the head shouldn't be a major problem unless you do things my way. My way=trial & many errors.

make a table with drop center for large prints. This is the most simple solution. The baseboard is not used.

Ronald Moravec said:

make a table with drop center for large prints. This is the most simple solution. The baseboard is not used.

Click to expand...

50X100"?

Old-N-Feeble said:

I just bought an Omega surface mirror attachment design specifically for converting the D series enlargers to horizontal projection but it's not here yet. I fear that alignment issues will be a nightmare with this device and am certain the mirror won't be perfect so I worry these issues will degrade the quality of my lens.

Click to expand...

Old-n-Feeble, as my old daddy used to say (you live in South Texas so you know what the word "daddy" means), "don't borrow trouble until it rears its ugly head". Why that Omega right angle attachment will arrive in great shape and all your big print problems will be solved. Also it is a simple enough attachment so you can do any slight adjustments required. Ill bet I'm right........Regards!

Thanks everyone. I'll give the right-angle attachment a try. However, it won't be the one I just bought. It arrived yesterday in pretty decent condition. One of the clips that holds the mirror to the mount broke free and the mirror is dislodged. That's not a big deal since I can just re-glue the mirror to the mount. However, the mirror has some minor finish flaws. These may not be enough to affect print quality but I don't want to take that chance. I'm a spoiled brat, after all!! I'll search for another one in pristine condition.

The eBay seller was very understanding; refunded my payment and told me to keep the attachment. However, my conscience won't allow me to do that so I'll be placing an advert in the "Freebies Section" soon. I'll list the eBay seller's moniker as the donator.

Old - N - Feeble

I think you should consider a drop table with a wall mount for your enlarger, I can make 50inc length prints with any of my enlargers. Since you have a lot of height dedicate one enlarger
for your murals and put the setup height of the wall mount higher . This will allow you to get 50 inch prints longest side.
If you want 100inch prints I will only say this.. Get a Durst 184 and turn sideways , place on rail and put metal on wall and do it horizontal as a 100 inc vertical print setup well, I would say almost impossible.

Such a setup horizontal is pricey to do right, and when making such big enlargements every small detail will be important, alignment , colour of room, chemical costs, Paper costs, ways to process the paper, ways to wash, tone and dry the paper, and then ways to mount and exhibit the paper print.
I have heard many people with jury rig solutions, and I wonder how many of them have tried their hair brain methods, and produced something you would be proud to hang.

I am coming at this from a position where I make these large prints for clients and they are extremely concerned about quality, I have been able to hang in prominent galleys and Museums . The murals
I produce I do with confidence and for that you need the right tools.
I am not trying to convince you not to make a 100 inch print as you can be the boss and do whatever you want to do, but to do it right requires - Money- Space- Time- Aligned Equipment made for the Job-
and a hell of lot of patience.
Just because its big, does not make a good idea, if it looks like crap then its crap.

At $1000 a roll of 50 inch Warm tone - every time you pull a mural at 100 Inches you are handling $100 worth of stock that when wet becomes very slippery and fragile, I have yet to meet the worker who can make a Mural in one pull , I would average one sheet strip tests, One full sheet to get the ball park nailed and then two sheets to finish the image.. $400 per pull, this would take me one full day to finish plus $100 in chemistry. For this print I would charge the client $ 2000 which includes chemicals one final print, one and half days work . Remember I am also talking about being setup and have a history of making prints. If it takes you 5 prints to make a 20 x24 well its going to take you at least 5 prints to make a mural.

Now we are on to finishing the print. I know of 2 8 ft hot presses in Toronto that I could use, the mounting board and tissue is going to cost my client about $300.
Next we need to hang the mounted print- a frame for this print in any reputable frame shop will be over $1000.
Add this all up and if you still feel good about it then I would say go for it as super huge murals are extremely impressive, but the image has to be of the same visual quality your best small prints.


I would say stay with a vertical setup and be happy with 30 x40 silver murals. Maybe consider panel jobs or installations, much easier to handle.

Leave the single sheet big ass prints for inkjet or RA4. I am making a triptych right now for a client that is three panels 30 x 60 and the completed installation is going to be 16 feet long and take a whole wall in
my gallery.
Think about splitting your murals into dip-ticks , triptychs and quads and I think you can manage in the space you are describing.

Bob