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I need to learn about enlargers

RattyMouse

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Location
Ann Arbor, Mi
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Multi Format
With my move back to the US nearly here, my dream of wet printing is getting that much closer. I have an enormous amount of negatives stored up ready for printing.

The problem is, I know nothing about enlargers! I'm looking for tips, suggestions, and makes and models of various enlargers for me to consider as I'll soon be shopping for one. I have all kinds of negatives to print, from 35mm up to 6 x 9. I'd like to keep open the option to print 4 x 5 negatives if I ever go to sheet film. Price is not a serious consideration. I am willing to pay good money for a top end enlarger if it is worth the expense.

Right now my focus is solely on black and white printing. I have not yet been able to determine how feasible printing color is at home so I'll have to leave that for the future.

But for now, I am seriously interested in learning about how to know what type of enlarger I should buy as well as what lens. I think from what I read I'll need more than one lens since I have different formats to print. Any and all suggestions are gratefully appreciated!

Many thanks!!
 
If you buy an enlarger of About 1990 vintage realize the electronics are complex and it will be difficult to find someone who can fix it. It is way easier to fix the real old condenser type. If you have the money, buy new.
 
Sauders LPL 4550 XLG is a nice one, and still in production with the VCCE light source, works with neg. up to 4x5. It does not have any complicated electronics.
 
for your 35 mm needs, your search should begin and end with a Leitz Focomat 1C -- No, seriously, accept no substitutes. It might cost a titch more -- although they are part of the glut on the market of enlargers these days, so maybe not -- and have the advantage of being always in focus no matter what size you set the enlarger at.

This save you SO much time, is so much more precise. Just set the size you want (simple clip in front raise and lower the head) and make your print. No grain focuser, no wondering, no having to change the size after you focus because that threw the size off. Uses a simple incandescent bulb, no fancy electronics.

Seriously, find one. Get another for the larger sizes.
 
You should get a 4"x5" enlarger since you will shoot negatives up to that size anyway. Everyone has their favorites, I bought a Super Chromega Dichroic II 5D-XL and print both color and black & white with the color head. No condensers to change and no problems with dust in the the condensers. Life is good.

Where will you be moving to?
 
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KHB is a good source of enlargers, parts, instructions and advice. http://www.khbphotografix.com/omega/index.html
 

The D5XL does not show up in Omega's shop. Is this not a current model?

http://store.khbphotografix.com/Omega-Enlargers/
 
A real 'Beginners Guide to Enlargers'...
  • Generally you need different FL lenses , or you will be limited in the size of enlargement you can make with an enlarger
  • You also need to have different negative carrier sizes for different format sizes
  • Lenses are mounted on lensboards, which are changeable.
    Some enlargers mount lenses on rotational turntables to allow switching lenses more rapidly.
  • Generally speaking, there are light sources which go thru condensor lenses, and those which go thru diffusion screens...different pros and cons for each type!
  • If you have an enlarger which handles a wide range of format sizes, the condensor lens sets swap out for a particular format size, or they are adjustable. Same for diffusion sources.
  • For variable contrast filter use, heads with drawers between the bulb and the negative are better than using VC filters below the lens.
  • If you ever want to print color, swapping heads on the enlarger allows you to use dichroic filters with 'dial' settings in the head, rather that using color print filter packs in the drawer.
  • Most folks are satisfied using 'glassless negative carriers', and might only find a need for negative flattening on larger negative sizes, as glass carriers are more finicky and difficult to keep clean.
 
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Thank you for your feedback. Why does this enlarger have this feature but others do not?
 
wiltw said:
A real 'Beginners Guide to Enlargers'...
  • Generally speaking, there are light sources which go thru condensor lenses, and those which go thru diffusion screens...different pros and cons for each type!
Click to expand...

This frightens me, a lot.

Further comments on this are highly appreciated, from anyone.
 
RattyMouse said:
The D5XL does not show up in Omega's shop. Is this not a current model?

http://store.khbphotografix.com/Omega-Enlargers/
Click to expand...

The page you linked to is their page for refurbished equipment. I believe they may actually be the ones who actually do refurbishing for the manufacturer.

They also have a list of used equipment on the site: http://www.khbphotografix.com/UsedList.htm

If you wish to purchase new equipment from them, they are authorized dealers for a number of different brands, including Omega. They prefer to have you contact them to discuss your needs, because they are happy to customize your order.

You should bookmark their site. It is a treasure trove of accurate information about current and older enlargers.

I own and use one of the predecessors to Ken's enlarger - the original D6. My D6 is based on the older D2 chassis. There is also a Super D6, which is based on the same chassis as Ken's D5XL. It is essentially an older D5XL with a few extra features. The current D5XL now has those features included, so it remains as the only current 4x5 Omega enlarger.

The Omega 4x5 enlargers are rugged. Their are a lot of historical versions, including some autofocus models. While autofocus can be useful on an enlarger, it can complicate them. And it tends to restrict your choice of lens.

So if you want a special purpose, 35mm only enlarger, a Leitz is a very high quality choice. As it is designed to be used with one format, and a relatively few lenses, its autofocus works well.

If you want an enlarger that works with a variety of formats, autofocus is a challenge.

In North America, Omega and Beseler are very common, and in fact both are still being manufactured. In Canada you will see a few Durst enlargers as well, because the distribution here was slightly better than the US, but generally Durst is much more common in Europe.

The LPL enlargers are also current, but their naming can be confusing. They are now marketed by OmegaSatter, so they are badged as Omega/LPL. Formerly they were marketed by Saunders, so they were badged as Saunders/LPL. In Canada, they are known simply as LPL.
 
RattyMouse said:
This frightens me, a lot.

Further comments on this are highly appreciated, from anyone.
Click to expand...

No fear required!

I have two enlargers. And each has two light sources - one condenser, and the other diffusion.

Both of the condenser heads haven't been used in years.

The diffusion light sources are a bit more forgiving when it comes to minimizing dust and scratches on the negatives. For one of the enlargers - my D6 - the diffusion head is a specialized variable contrast head which is a great accessory. The diffusion head for the other enlarger is actually a colour head, which I use for variable contrast black and white.

The condenser heads can be used if you need higher contrast and slightly more edge contrast/accutance. Some people prefer that, whereas others prefer the results from the diffusion heads. The differences are real, but subtle.
 
Rattymouse, I know you are an accomplished photographer, and there's not much I can offer in advice for enlargers for anything bigger than 6x6, other than for 5x4 you are probably going to have to seriously consider whatever comes along. They aren't so common second hand that you can make big choices, unless you wait a long time or get very lucky.

You will obviously need some means of contrast control - either filters or colour head.

If you are serious about doing a reasonable amount of wet printing, and have fairly deep pockets, can I recommend an analyser like this http://www.rhdesigns.co.uk/darkroom/html/analyser_pro.html

Learning to print, the way I see it you have two choices - you learn "old school" - learn how to make test strips, assess them, use them; or short circuit this and use technology. I soon decided that making test strips, whilst a great skill to learn, is time consuming, fiddly, and uses a fair bit of paper. The RHD analyser (sold now by SDS in the UK), makes printing less of a chore and I can concentrate more on the print than the process. Basically, once you learn to calibrate and use this analyser, you take readings in up to 8 places on the projected image, and place the readings on the gray scale (zone) you want them by tweaking exposure and contrast settings. Press the button and print.

The unit has memory for up to 8 different paper calibrations. This feature alone is invaluable to me as it means I can flit between say slavich (slow) and kentmere (fast) paper at the touch of a button.

It's an f-stop timer and has functions that make burning in real easy.

My enlarger is good, but I'm not that precious about it - if it broke I wouldn't necessarily need to replace it like with like. If my analyser broke, I'd panic and find the readies for a replacement. Maybe I would have gotten faster and more skilled with test strips eventually, and maybe I am missing out on gaining certain skills, but my darkroom time is limited, and the ability to go in the darkroom, take half a dozen pieces of paper out of their packs and leave with half a dozen prints works for me.
 
RattyMouse said:
Thank you for your feedback. Why does this enlarger have this feature but others do not?
Click to expand...

It has the leitz badge on it.

Ignore the siren calls join a photo club and inherit one from someone going to dark side for free.
You may need an auto to move one, mine needed the sunroof out to get it on the passenger seat.

Noel
Edit: If you have 6x9 negs get or make a contact frame...
 

The Focomat must be good -- it's made by Leica, and I've owned their cameras since 1953. However, my Russian suitcase enlarger also has automatic focusing, just like the Focomat. Whoopee! I've owned maybe half a dozen other brands, and almost all do well enough for both quality prints and volume runs. It's the lens that is really important. Don't skimp there! I've used the top-of-the-line Nikkor enlarging lenses almost exclusively for 45 years. The best of a few other brands should be as good. Even that suitcase enlarger's lens could make good prints.
 
I have an Omega D-2 which goes to 4x5. The whole thing is very simple, nothing to break. lensboards & negative holders very common and easy to find. Works great. Much better than my Beseler 67.

I would not stress over this. Most are not that expensive and you will eventually want two enlargers if you go "all in" on this printing thing.
 
it doesn't matter what badge it has on it. It needs to be working properly, have all the bits you need and NOT have been bent and/or fiddled with. Even Leitz get bent and fiddled with and autofocus can be a real pain to correct if its not working properly.

Personally I rekon a Durst L1200 is about as good as it gets for a 4x5 enlarger but even they can have been messed with or be worn out. So ultimately it requires you to lay your hands on something which has been well looked after and in excellent condition. After that the most important thing is that it is properly aligned and stays that way throughout its height adjustments. This is best achieved when using a wall mount for the enlarger. And thirdly you need a good quality lens. A 6 or 7 element lens is usually better. An APO will give you slightly greater range of enlargment factors. Not much in it if anything at standard enlargemnt factors, i.e. those that the lens was optimised for.
 

Respect! Respect !! Respect !!!
This is true APUG effort.
 
mike c said:
Saunders LPL 4550 XLG is a nice one, and still in production with the VCCE light source, works with neg. up to 4x5. It does not have any complicated electronics.
Click to expand...

This is the no-brainer solution to me, but some folks like to do it the hard way and get a "project"
 
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RattyMouse said:
This frightens me, a lot.

Further comments on this are highly appreciated, from anyone.
Click to expand...

Don't fret! I pointed out a difference simply to make you 'aware'. For a beginner, the actual differences will not truly matter, and it may take years of experience in the darkroom to even be able to easily recognize any difference in print results from each type!

As pointed out, condensor heads do not 'hide' dust on negatives as readily as diffusion (can you see the difference in electronic flash head w/ lens vs. one in a small softbox? you understand the principle which is at work). So operationally, you need to be more meticulous in dusting negatives before enlarging them.

To a significant degree, you get the type that the manufacturer designed, and you do not get a lot of choice if you want the other type of head from same manufacturer. A standard Omega head is condensor, yet the Chromega color head is diffusion. In the case of the Beseler they have a condensor head as standard and the computerized dichroic head makes the same chassis a diffusion enlarger as standard, yet you have the ability to buy an optional condensor assembly for the dichroic head if you want a condensor system instead (assuming you can find one on the used market).

So you see that your choices are largely driven for you, and if you do not like it, you option is to find a different design head made by someone else that fits your chassis (if one is offered). I have printed with condensor for 20 years and with diffusion for another 20, and I cannot say that I 'have to have...' one design over the other. Just not that anal compulsive. My enlarger for the past 20 years is a Beseler 45VXL with diffusion Universal color/VarContrast head, and I cannot say I ever said to myself, "Dang it, I wish it was a condensor head!"
 
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Either a Bessler or Omega 4X5 will work just fine. The Bessler 4X5 with the motor drive to raise and lower the height is a nice feature. The Omegas, C 2 -6 are well built, you can buy condenser, color, or cold light heads. Bessler uses a bellows to adjust the condenser so you don't need lens cones. I have a D3, with a variable condenser head and cold light, I bought it in the late 70s used, still in very good working order. I print black and white, in the past I printed color with unicolor and Kodak color correction filters, I put the filter in the condenser head above or below the condenser depending on which lens I am using. My darkroom is a double bath, so not very large, the D3 footprint is reasonable. On the table I can print up to 11X14, and 20X24 on the floor.

When buying try and find an enlarger near you, shipping can cost as much as the enlarger it self, sometimes your choice just may be what is close at hand.
 
I was using an Omega D2 with a condenser for 4x5 for several years but the dust monster was getting me down. I have now procured a 1989 vintage Beseler with a diffuser colour head. I set it to zero filtration and use Ilford variable contrast filters in front of the lens. Going the diffuser road has tamed the dust monster. The beseler has settings for 4x5 down to 35 mm. I have had constant issues with poor connections in the electronics. There is an analog computer in this beast to set Mg, Cy and Yl filters. I do not do colour. I am an electronics technologist by trade and live I fear the thing will go 100% failure one day and be unfixable. Most of the semiconductors are not available. So I keep "dusty" my omega in storage.

Maybe one day I will replace the colour head with a newer cold head diffuser made only for monochrome.

I recall the Saunders at the local art college were bullet proof.

I have a 50 mm, 80 mm and 150 mm lens set to cover 35 mm, medium format and LF.
 
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