My new Kienzle C120 4x5 enlarger.

[lantau]

Do you know what the lead time is on the Kienzle enlarger?

It may vary, depending on how busy they are, but I waited about two month for my C120.

I did call eventually and I could go there for pick up soon after.

 

[Lachlan Young]

It's kind of a math game for me. I could get a DeVere if I wait long enough but to outfit it with the Heiland set up I want it might be more than what a new C252 costs. Or I could outfit my Zone VI but then I'm kind of stuck with the generic LED head and my Zone version is kind of a funky enlarger...I don't really like using it.

It really depends on how big you're printing from 8x10 - and if you must have a bench enlarger. Bench 5108's (DVB) are vanishingly rare, unless you have a DVW (wall) model and a 504/507 DVB you are willing to cross-convert into a DVW. Almost all 5108s I've encountered are the 5108 DVF (Floor Standing) - I have no idea what the relative production numbers were - and you can't cross-convert a DVF into a DVB/ DVW easily. The stock C252 in bench form gets the neg stage a few inches higher than a DVB De Vere - and the 150cm column variant, even more so - it's also rather more flexible in light source choices from 250w up - the De Vere really just gives you a choice of 1000-1200w dichroic heads (though you can get it to 500-600w if you absolutely need to). A C252 with the LED head is realistically going to be cheaper than a 5108 & the Heiland LED etc these days - and the C252 takes it as a native head, rather than as a replacement. The only reason the De Vere 5108 Heiland drop-in is designed as it is, is probably so that it costs less to post than the slab of steel you'd need to compensate for the weight of the dichroic head. It would seem to be the 'generic' 8x10 panel inside the casing.

That was fortunate, and especially with local availability, although I picked up my fairly 'as new' 504 about an hours drive away. There seem to be very few De Vere or other enlargers on the market compared to a few years ago.

I think a lot has to do with people who are gradually setting up darkrooms (and that number is rising steadily) finding it very difficult to accept other manufacturers' sadistic attitude to ergonomics after using a De Vere 504 etc - and that they are generally better engineered (and relatively lighter/ acoustically deader for their size - because of the use of aluminium castings) than similar machines - oh, and their floor standing models fit under most UK ceilings...

 

[yya]

True, their website doesn't seem to contain that info, yet. But it is in their price list. Also they split information between the enlarger pages and another page about their enlarger heads, which can be fitted to third party enlargers.



If you find the dedicated page about their Primos heads you'll see the available wattage depending on the largest usable negative size.



When I talked about this not looking like a factory line but hand assembly I guess I ímplied as much. My LPLs outside is made from pretty thin metal sheet. There is maybe a chassis underneath. But these 'panels' have surely been pressed into shape by specific tooling, which gives it ridgidity. Also the LPL column has a more complex profile for ridgidity than the simple rectangular profile of the C120 column.

My enlarger looks like it has been build with more generic techniques. Classic locksmith(?) work. Cut, bend, some edges possibly welded together, and the whole thing made from such pieces. I expect any skilled metal workshop could work on these enlargers in 50 years, even at a remote place. Although I don't see much that could break. Perhaps corrode if you throw it into the harbour. The mechanism for rising the dichroic filters into the light path will be the most delicate part.

My table is set pretty high and the ceiling is quite low. The column still fits. But I can't raise the head all the way. 24cm x 30cm paper is my usual format. I also like 18cm x 24cm. I have an unopened pack of 30cm x 40cm Adox MCP. I consider this my size limit. It is also the limit of my Nova. Honestly, that is already a pretty useless size and it should work with the 100W model. Exposure times, so far, haven't been excessive. Even for 35mm film and this 4x5 box. That being said I was gifted a roll of 65cm * 3500cm Multigrade IV RC paper and a few very large trays. I wonder what I'm going to do with it.

And you are right about the modularity. My CVC (colour variable contrast) head is in the price list, but price only upon request. Perhaps not the most often asked combination but they delivered.



The 12V 100W lamp is the same my LPL is using. I can keep the spares.

Hi thanks for your post, I’m ready to order C120, I got a question about the light source, if we choose condenser system, the light source still using halogen lamp, did you know why they give up the opal lamp for traditional condenser systems? Like durst 1200 or de vere 504, I think the halogen lamp only using on color head

 

[lantau]

Hi thanks for your post, I’m ready to order C120, I got a question about the light source, if we choose condenser system, the light source still using halogen lamp, did you know why they give up the opal lamp for traditional condenser systems? Like durst 1200 or de vere 504, I think the halogen lamp only using on color head

The reason is probably modularity. To make a classic condenser system they would have to build an entirely different head with the opal lamp on top and the light path going straight down.

On my head the halogen lamp is mounted horizontally, illuminating a diffuser chamber from the side. The colour filters and ND attenuator are in this path. The exit from the diffuser is on the bottom and the mixing box below. In your case the box would contain a condensor system.

I'm on my commute, so I go from memory; I think somewhere above, a knowledgeable member mentioned that this system will not work much different from one with an opal lamp. After all the purpose of that kind of lamp is to produce a relatively diffuse, rather than point, light source in the days before the combo of powerful halogen lamp and diffuser became available.

Lastly, you can change to diffuser if change your mind. I can only recommend on getting the colour filter and ND option together with the split grade. It's a lovely and flexible system.

 

[yya]

The reason is probably modularity. To make a classic condenser system they would have to build an entirely different head with the opal lamp on top and the light path going straight down.

On my head the halogen lamp is mounted horizontally, illuminating a diffuser chamber from the side. The colour filters and ND attenuator are in this path. The exit from the diffuser is on the bottom and the mixing box below. In your case the box would contain a condensor system.

I'm on my commute, so I go from memory; I think somewhere above, a knowledgeable member mentioned that this system will not work much different from one with an opal lamp. After all the purpose of that kind of lamp is to produce a relatively diffuse, rather than point, light source in the days before the combo of powerful halogen lamp and diffuser became available.

Lastly, you can change to diffuser if change your mind. I can only recommend on getting the colour filter and ND option together with the split grade. It's a lovely and flexible system.

Surprised that you responded to my question so quickly, I agree with you, this is the result of modular compromise, I'm just a little worried that there will be no LED with GZ6.35 lamp holder when it is difficult to buy Halogen lamp in the near future lights as an alternative (halogen lamps have been banned by law in Australia), but E27 lamp holders are very common.

one more question is, How do you think the alignment for C120? do you using any alignment tool like versalab parallel alignment gauge https://www.bhphotovideo.com/c/prod...cKcWa31rJY3N8texhPhvfUfj-Zk6W0dQaAqmLEALw_wcB

 

[lantau]

Surprised that you responded to my question so quickly, I agree with you, this is the result of modular compromise, I'm just a little worried that there will be no LED with GZ6.35 lamp holder when it is difficult to buy Halogen lamp in the near future lights as an alternative (halogen lamps have been banned by law in Australia), but E27 lamp holders are very common.

one more question is, How do you think the alignment for C120? do you using any alignment tool like versalab parallel alignment gauge https://www.bhphotovideo.com/c/product/157407-REG/Versalab_PARALLEL_Parallel_Alignment_Gauge.html/?ap=y&smp=y&gclid=Cj0KCQiApKagBhC1ARIsAFc7Mc6yAc5N5MoLhddoKy7EIglcKcWa31rJY3N8texhPhvfUfj-Zk6W0dQaAqmLEALw_wcB

After several months of a having left I reactivated my account recently when I received a notification, when someone sent me a direct message. So I am here, for now.

There is nothing to align on the C120. The way it is constructed I don't see what could go out of alignment, unless you apply a force large enough to bend the steel. There is an option, which you can add when ordering, if you want to do Scheimpflug like corrections. I guess then you could use whatever tool is normally used to get back to perfect parallel alignment. But I didn't want it. Keeps the machine simple and sturdy.

 

[yya]

After several months of a having left I reactivated my account recently when I received a notification, when someone sent me a direct message. So I am here, for now.

There is nothing to align on the C120. The way it is constructed I don't see what could go out of alignment, unless you apply a force large enough to bend the steel. There is an option, which you can add when ordering, if you want to do Scheimpflug like corrections. I guess then you could use whatever tool is normally used to get back to perfect parallel alignment. But I didn't want it. Keeps the machine simple and sturdy.

very nice！I also need a simple machine!