Omega D series questions

[Flotsam]

I've been looking for a 4x5 enlarger for a while now.
An old Omega seems to be the most economical way to go but I am unfamiliar with them and find the models and accessories confusing especially the condensor and lens cones. I need to print 35mm, 6x7 and 4x5 and would rather not spend months trying to accumulate individual items that I need to get printing.

I guess that I'm asking for advice on what to look for and possible pitfalls to avoid when buying one of these. Also, do the DII,D2,D2V and D3 all require inserting specific condensors for different formats? (I've been using a Beseler 23c so this concept is understandable, but a little foreign to me. Is the D3 a distinct improvement over the D2?

Thanks for any help.

[edit] One more thing... I am also interested in the arrangement for introducng acetate variable contrast filters into these enlargers.

 

[josephaustin]

The original D-II uses different Condensers for 4x5,6x6, and 35mm. You also have to have a lens cone for 4x5. If you are using a 135mm, the 2.5" if 150mm the 4". The D-2V with Varible condensers should come with all the condensers, you just have to rearrange them for what format you intend to print. I have a D-II and am very pleased with it. It is a very simple machine easy to operate and allign. Also they are going for a song right now. The D2V is probably an easier machine to use since you dont have to purchase/keep up with different condensers. It also has crank elevation for the enlarger head whereas the DII is manual. I belive all negative holders are compatible for both models and the D3. Try www.classic-enlargers.com they have lots of information on Omegas.

 

[josephaustin]

I use a kodak filter holder atached to the lens, for my D-II, if you want a filter drawer, they dont have one. The D2, or D3 im not sure about.

 

[David A. Goldfarb]

With the original D-II and the D-2 there are condensers that exist for different formats, but unless you are printing really large with bad lenses and need every stop of light you can get, you can just use the 4x5" condenser set for all formats. The main task of the condenser is to give you even light coverage. If you use a condenser for a smaller format with a larger neg, you'll get vignetting. If you use a condenser for a larger format with a smaller neg, you'll get even coverage, but slightly less efficiency (on the order of 1/2 to 1 stop), because the light is being spread over a larger area.

You can also avoid the problem entirely by taking out the condensers and using an Aristo head, which I do. I also have a second D-2 "color" head with the condensers, if I want to use it. This "color" head has a filter drawer for 6" filters, not dichroic filters. I usually print on graded paper, but if I want to use VC paper with the cold light head, I just put the filter over the negative carrier, under the cold light head.

You can put any lens up to 105mm on the flat board, 135mm on the 2.5" cone, and 150mm on the 4" cone. Cones and neg carriers are easy to find. I like the Rapid Shift negative carriers with glass inserts.

 

[Lee L]

Most of the D series Omega enlargers with B&W condenser heads have two fixed condensers in a cylindrical (looks like spun) aluminum tube. This rests on the negative carriers and has a rectangular box above it with a movable condenser that rests on one of several rails. The filters and/or heat absorbing glass go into that box as well. 6" x 6" is the standard size for those. The D2 and DII don't have that condenser adjustment box, nor does the earlier D6 (which is based on the D2/DII chassis). Later (post mid-70s) D6 models were D5 chassis with extras like lens turret and fine focus extensions, and so had the condenser adjustment box and room for filters there.

The D4 was an autofocus with color head availble in the late 50's early 60's.

Lee

 

[Paul Howell]

I have a standard D3 with condenser and cold light head, I have 50, 80, 105, 135, 150 and 162 lens and boards and cones. Unless you have room for a 2nd enlarger I would pass on a Ds and D2s and go for a multiformat D3, and XL if you can find one. I use Dupont filters above the lens in the cone, filter just sits on the lens inside the cone, or I use Ilford 6X6 in the box. If you get a color head you need mixing boxes for each format as well. I have a MF Durst with a color head, but I have printed color in the D3 with CC filters. When I was in the Air Force I started with D5s XL, and if you have the room for a D5 XL 16X20 from 35 is a snap. By turing the Omega on its base you can shoot to the floor for even larger prints. I know Besseler fans are very found their units, and it really boils down the lens, but I found Ds to really rugged and easy to use.

 

[Neal]

Dear Neal,

I have an old D-II and I replaced it with a D2-XL with a dicrhoic head. I can not tell you how much nicer it is to be able to dial in contrast as I need it and not have to fiddle with filters. It makes color printing a snap as well. Better to get a whole kit on ebay (dichroic II with power supply) rather than piecing together the way I did. Paying a bit more for one in really good shape would not be a bad thing either. A nice D5-XL would be lovely.

Check out ebay item: 7546383067

Neal Wydra

 

[Donald Miller]

I used a D2 back about twenty years ago and found it a pain in the rear to keep aligned properly. I also found that it leaked light like a big dog until I sealed the neg carrier with self adhesive foam. I got rid of the condensors and went to an Aristo head pretty quickly.

While it is important for the condensors to spread light evenly, the primary purpose of condensors, in a condensor enlarger, are to focus the light at the nodal point of the lens.

In a well designed condensor enlarger, you will find specific condensors for specific lenses. Omega makes an attempt at this but they do not accomplish it as well as other manufacturers.

 

[David A. Goldfarb]

While it is important for the condensors to spread light evenly, the primary purpose of condensors, in a condensor enlarger, are to focus the light at the nodal point of the lens.

I do not believe this to be true. Unless the enlarger is designed to use only one specific lens, one format, and one enlargement size, the nodal point of the lens is moving all over the place all the time, while the condenser lenses are fixed, except insofar as you may change them for different formats.

I can make a wallet-sized reduction from a 4x5" neg or I can project onto a wall or the floor and make a huge enlargement, but I don't know if there is any condenser enlarger that requires a change in the condenser lenses for those two conditions, though the nodal point of the lens is quite different.

 

[Donald Miller]

I do not believe this to be true. Unless the enlarger is designed to use only one specific lens, one format, and one enlargement size, the nodal point of the lens is moving all over the place all the time, while the condenser lenses are fixed, except insofar as you may change them for different formats.

I can make a wallet-sized reduction from a 4x5" neg or I can project onto a wall or the floor and make a huge enlargement, but I don't know if there is any condenser enlarger that requires a change in the condenser lenses for those two conditions, though the nodal point of the lens is quite different.

My information is gleaned from Jens Jensen at Jensen Optical and the Durst enlarger information. The information that they impart very clearly states what I represented.

The Durst equipment does require a change of condensers and even lens boards at times under the conditions that you state. I will be happy to provide you with the charts that show the condensors required for reductions and enlargements that pertain to Durst equipment.

Have you any knowledge of or experience with Durst equipment?

 

[Rlibersky]

I agree with David. I've used a D2 with the condensor for a 4x5 and have not had any issues with the smaller format. I switched it to the Arista light head awhile back. this enlarger was made in 1958. Still works like a champ.

 

[David A. Goldfarb]

Yes I've used Durst enlargers in communal darkrooms occasionally, but not the latest high end models, or perhaps I was not familiar with that feature. I stand corrected re: Durst.

Unless the condensers are continuously variable, mechanically linked to the focus mechanism, and can be calibrated for a particular lens, however, the notion of "focusing the light at the nodal point of the lens" sounds a bit overstated, no? It seems more a matter of optimizing the light distribution for a particular magnification range and format.

Whether an enlarger requires a change in lensboards under those conditions would seem to be a practical consideration depending on the bellows design (more extension for reduction, less for big enlargements--Omega uses a reduction bellows for the former).

Still, many enlargers make no provision for this, and I am fairly sure the earliest D-II model originally only came with one condenser option. The 35mm and MF condensers are D-2 era, if I am not mistaken. When I had a Philips enlarger, I owned all three condenser sets and couldn't see any reason (sharpness, uniformity of illumination, etc.) to switch out the 6x7 set for 35mm other than if I really needed the extra half stop of light.

 

[Donald Miller]

David, I will be happy to send you the tables that Durst calls out for different lens manufacturers and focal lengths. In certain equivalent focal lengths of Rodagons and Componons they have different condensers specified. I assume that this is for very valid reasons.

I have no reason to argue with their statements on the design of their optical system including the condensers. Perhaps you have more education in optical design then Durst does, if that is the case then perhaps you should take them to task on their representations.

I assume that they have all of these condenser combinations for very valid reasons...they do state that the purpose of the condensers is to focus the light at the nodal point of the lens...

 

[josephaustin]

I have the D-II it has all three condensers, as an option. I do however use the 4X5 for everything except 35mm. I dont need the extra light for 35mm, but I like the reduced times, usually I just use my B-22 because Im to lazy to switch everything around.

 

[Flotsam]

I can't afford a 4x5 Durst but I would be fascinated to hear definitively whether their system actually links the condensers to the lens focus in order to keep the lamp's light focused at the nodal point of whatever particular lens you are using at every bellows extension.

That would be cool.

 

[Lee L]

David, I will be happy to send you the tables that Durst calls out for different lens manufacturers and focal lengths. In certain equivalent focal lengths of Rodagons and Componons they have different condensers specified. I assume that this is for very valid reasons.

I had been thinking about writing earlier to describe why this would have to be done differently for same focal length lenses of varying designs, or even for different magnification ranges with the same lens as David mentions. The lenses have different designs, so nodal points (you don't specify front or rear nodal points) differ relative to focal length, and the position of the mounting threads/flange relative to the nodal point(s) is not standard across manufacturers or designs either. A Componon won't match a Componar in the same focal length, etc. This would be why Durst, if aiming for a nodal point, has to give very specific instructions for lens and cone combinations, and take into account design differences in lenses of the same focal length.

Take David's word for it, the Omega D series isn't as optically complicated as the Durst you describe. I don't see that he's disputing your information about the design goals that Durst has. He did say he stands corrected with regard to the Durst.

Lee

 

[removed account4]

hi neal

i have and use a d3v ... it isn't the standard one, but one that was built for the war effort so it has larger condensors 7" ( to print aerial film ) instead of 6". i have had it since the late 80s.

the d3v allows you to focus once, and if you need to make the image larger, you can just crank the head up and everything stays in focus. i stopped using the cones soon after i bought it, and opted for the variable focusing bellows ( aux bellows attachment or something like that ) originally made to make mini / jewel prints. it allows you to put just about any size lens on there - i have done 110 - 4x5 format, without having to deal with cones for each lens &C. harry taylor makes the rails, but if you have the aux bellows, you will only need one rail ... sometimes harry has these accessories, and they can be used on many of the different enlargers to eliminate the need for cones -

regarding the condensors - mine has the pair in the enlarging head ( that don't come out unless you end up with a cold light head ), and a third one that "floats" just below the light source ( above the pair ) in one of 2 slots. depending on the format film you are using it resides upside down, or right side up in the top or bottom. i don't know about filters up there, i use i use polymax filters that i attach below my lens ...

maybe i am lucky - i haven't had any trouble with allignment, and i've packed it up and moved it 5 or 6 times since 1988. the only problem i can see someone having, is that you need kind of high ceilings to go all the way up. i used to remove one of the tiles of a drop ceiling and it would go all the way to the floor joists. now i have a lower table, and when i installed the drop ceiling myself, i made sure it was high enough to accomondate everything that i use.

good luck matey!

-john

 

[Donald Miller]

Even though this has gotten off topic from the original post and I apologize for that, for those who are interested, Jensen Optical did have information about this on their site when I last checked...www.jensen-optical.com it takes a bit of mining to find it.

They do have the different nodal points for Rodenstock, Schneider, and Nikon enlarging lenses on their site. My enlarger manual does spell out the different condensers for different focal lengths of Schneider and Rodenstock lenses.

In my experience, the precision that they offer in their product does translate to visible proof in the print. Good luck no matter what enlarger you choose to buy.

 

[panchromatic]

I actually just got a D6, with the lens turret and such... in fact since i've been remodeling my darkroom for the past 3 months i haven't done ANY printing or whatnot, but i haven't even used teh D6 yet, though its a beauty in my opinion. I'll post a review once i get using it.

 

[Jim Chinn]

Like almost anything in photography a lot of it comes down to budget. A big Durst is probably the best choice but not easy to find inexpensive ones. The best option if you are on a budget is to go with a D2 and replace the condensors with an Aristo head.

I have never had problems with mine keeping alignment. I did place star locking washers under all the screws that are used for adjustment, and periodically check for level and square.