Omega enlarger bulb

[abruzzi]

Sorry for the dumb beginner question, but I just got a couple enlargers and I’m trying to figure out what they are and if they work, etc. I’ve never owned an enlarger. So I got the first one assembled, and from the looks of it it seems to be an Omega D2 with a condenser head. It didn’t turn on, and when I disassembled the lamp, the bulb was a generic incandescent home bulb.

Two questions—is that all, it is, or do I need a special bulb with a special color temp that just happens to look like the bulb in my living room lamp?

And if it is a standard bulb, since incandescent is hard to buy locally, do LED bulbs work? I know I can get 5000k daylight or 2700k bright white. If I have to go incandescent, I will, but something that generates less heat would be welcome.

 

[MattKing]

Enlarger bulbs are designed to be a bit more consistent than incandescent household bulbs needed to be, with the shape of the bulb and evenness of illumination being particularly important.
The D2 is designed to use bulbs that are quite close to incandescent household bulbs - PH211, PH212 or PH213, which are similar but reflect a choice of three different light intensities. Unless you are doing really large enlargements or printing from colour negatives, you may prefer the lower power, 75 watt PH211.
Freestyle sells them: https://www.freestylephoto.biz/405691-Ushio-Enlarger-Bulb-PH211-75W.
Always buy at least two - you want to have a spare on hand.
The problems with LED bulbs are that their spectrum is discontinuous, and the light dispersion and shape of the light source probably doesn't match the incandescent bulbs which the enlarger was made for.
With respect to the spectrum, remember that the printing papers and filter systems were designed with either incandescent or halogen bulbs in mind.
Even if you find an LED that works predictably with black and white, it may not work predictably if you print colour.
That being said, there certainly are people out there experimenting with the higher end LED sources - see Modern Enlarger lamps as an example.

 

[saman13]

If it's a D2, that is a very versatile enlarger and might just be the only enlarger you'll ever need! You can print from 35mm to 4x5 large format with that one. Omega enlargers are very well made, replacement parts and accessories like negative carriers and lens cones are easy to come by secondhand. They are also relatively simple enlargers without automation, which is a good thing because there is less to break. I have a B8 which is basically the MF version of yours ,and I am very happy with it, but it will only enlarge up to 6x9cm film (only thing keeping me from getting into large format photography, so maybe that is a good thing).

Here is a link to the manual for the D2:
http://www.jollinger.com/photo/cam-coll/manuals/enlargers/omega/D2 Condenser and Dichro.pdf

And a great page with good information about accessories and replacement parts:
http://www.khbphotografix.com/omega/Enlargers/D2.htm

Looks like you need a PH 211 bulb. Google search it and you should get some hits. Here it is from Freestyle, on clearance no less:
https://www.freestylephoto.biz/2340569-Eiko-Wiko-Enlarger-Bulb-PH211-75W

May as well toss that into your cart along with a few boxes of 8x10 RC paper that you'll need!

Have fun! Darkroom printing is enjoyable while you're doing it and gives you a very rewarding end result.

 

[saman13]

Matt beat me to the punch on the bulb question. But, read the manual! The necessity of different lens cones was pretty confusing to me when I got my enlarger about 6 months ago. The manual should help.

 

[abruzzi]

Thanks for the help. This one seems mostly complete. A few things that seem to be missing are one of the four thumbscrews to mount the lamp to the lifter lever, filter holders to mount filters, and surprisingly, a 35mm negative carrier. There is a 4x5, 6x7, 6x6 and slide carrier. It only has a 50mm lens—a Schneider-Kreuznach Componon 50 f4.

There is a second lens mount (I assume this is what you meant by lens cone) that looks like it lowers the position of the lens by about 2 inches. Short term, I need to figure out how to set this or the other enlarger (which I’ll look at tomorrow) to print 35mm and 6x7 up to 8x10.

I’ll look into Freestyle to order the bulbs. I’m going to need to order some chemistry from them as well.

 

[saman13]

You can always make a mask out of cardboard for 35mm on one of the larger format negative carriers.

And yep, those are the lens cones. You need progressively longer ones for longer lenses. There is a table in the manual that tells you what cone you need for which lens.

My advice: don’t bother with setting up the 50mm lens if you are enlarging MF also. I have a 50mm Nikkor that I might just sell because I never use it. Instead I just use the same 80mm lens I use for 6x6. Otherwise I would have to change the lens cone every time I want to switch between formats. My enlarger has plenty of height to enlarge a 35mm to 8x10 with the 80mm.

 

[MattKing]

That second lens cone sounds like one that would be used for a 150mm or 135mm lens - a lens you might use for a 4 x 5 negative.
The ideal focal length for 6x7 negatives is 90mm, but some 80mm lenses (like modern Rodagon lenses) work well with 6x7. I actually use a 105mm lens mostly for 6x7.
Just be sure that you have a D2, and not a DII. Both are good, but the similarity in their names can cause confusion.

 

[saman13]

Oh, and you’ll want a lens in the 90-105 range for 6x7. You could even go ahead and get a 135mm lens and use that for all formats, but I’m not sure how much enlargement you could get from a 35mm neg with that lens.

 

[saman13]

Got me again...

 

[abruzzi]

Im going to have to pull the existing lens to see what size the mount is, so if I’m looking for a 90-100mm for the 6x7, I can fit it in the same lens mount. The existing one is not threaded, the lens has a threaded ring above the board, but I’m not sure the size.

 

[Huub]

Most lenses in the range of 50mm to 105mm and even some 135mm use the M39 thread size, which makes that these lenses can be interchanged pretty easely, using the same retaining ring. On my D2V i use 50mm and 80mm lenses on a flat lensboard and the 50mm only when i want to make big enlargements from 35mm film. For smaller prints i prefer the 80mm as it gives me a bit extra space between lens and easel, which works easier. For 4x5 i use a 135mm on its cone. For 135mm and 150mm you need different cones, so you should check which one you have before you start a search for a proper enlarging lens.

 

[abruzzi]

Thanks. I’m picking up the second one today, so we’ll see what it is and what it includes. I have to do a pretty thourough evaluation of both before I decide which one to bring back to life and what I need to buy to get it where I want. The other one will end up stored in my garage unless I can find someone local that wants it. I’m pretty excited, but I won’t be able to use these for a couple months since I need to build the counter space and everything else to turn my spare bathroom into a darkroom.

 

[saman13]

A few months is a long time to look at an enlarger and not use it... if you can do that you have a lot more self control than me!

Before I had a semi-dedicated space for my enlarger I would put it on the slightly too small bathroom counter. Made all of my Christmas cards with it like that. It might actually be helpful to print some with a temporary setup, so then you’ll know what you need (want) and don’t need when you make a more permanent setup. But, of course, YMMV.

 

[Paul Howell]

The D2 had the option of 2 condenser heads, a fixed condenser and a variable condenser with 2 condensers, the top condenser can moved up and down to match the lens in use. If you have a variable head you can use 4X4 filters placed either on or between the condensers. The D2 is designed for a 75watt bulb, I occasionally use a 150 for really dense negatives or when enlarging to 16X20. Recently I started using a LED bulb, my negatives are scaled to print grade 2, I haven't noticed any issues printing on either graded paper 2 to 3 or VC. I have had lens boards made for me by a local machine shop and drilled for odd size lens. I have a D3 which is an auto focus model based on the D2. As others said, well built, heavy duty, easy to keep in alinement, as long as you don't break a condenser parts can be found or made,

 

[abruzzi]

Thanks the D2 head is a variable condenser, however I have a greater question. I just got the second enlarger. It is a later D model. I can’t tell if it is a D3 or D4, but it has an auto focus system. There seems to issues with its focusing control, and over all AF doesn’t seem all that valuable to try to get sorted—the rails are loose, the rider that is supposed to follow the rails, doesn’t even touch them, the pawl on the focusing knob is loose so when I turn the knob, it doesn’t focus, so I think the D2 will be the one I bring back to life.

However the AF one has a color head, specifically a Super Cromega D Dichroic II. It includes a power supply box, a timer box, and a foot pedal. It looks at first glance like the color head could be switched over to the D2 by just moving over the lifting arms. I don’t know if I will ever be printing color, but built in filters for adjusting contrast seems worthwhile. It’s a diffuser rather than condenser though I don’t know enough about the difference to know whether I care.

So, is it worthwhile to move the color head over to the D2? I did plug everything on the head up and it powered on (light) when I moved the timer control to focus.

 

[MattKing]

That Colour head is potentially newer.
I prefer working with a diffusion light source, because it will help minimize the effect of any dust or scratches, and I can adjust for the relatively small difference in contrast at the film development stage.
I also prefer having the built in colour filters.
The bulbs are halogen bulbs, and more expensive than the PH211 bulbs, but they are readily available from specialty bulb suppliers, because they were used in a lot of different types of equipment.
You can still get parts for those heads - friends of mine recently replaced the burned out dial illumination bulb on theirs, and they didn't have any difficulty accessing the bulb.
Make sure that the timer and power supply are working appropriately. Some versions of that equipment didn't respond while to long periods of disuse.
For me, the foot switch would be reason enough to switch the heads.

 

[abruzzi]

I haven’t tried mounting it, but the timer works (once I found the manual online to understand how it works.) but I haven’t tried the foot pedal. The second enlarger had a Schneider Componon 150/5.6 and a Nikkor 50/4. I also got boxes of chemicals, trays, a print washer, a 35mm bulk loader (that, judging by weight feels mostly full of an unknown film), a couple paper safes that feel loaded with paper, a very nice easel, a grain focuser, and enough glassware that my neighbors may think I’m starting a meth lab.

 

[saman13]

I haven’t tried mounting it, but the timer works (once I found the manual online to understand how it works.) but I haven’t tried the foot pedal. The second enlarger had a Schneider Componon 150/5.6 and a Nikkor 50/4. I also got boxes of chemicals, trays, a print washer, a 35mm bulk loader (that, judging by weight feels mostly full of an unknown film), a couple paper safes that feel loaded with paper, a very nice easel, a grain focuser, and enough glassware that my neighbors may think I’m starting a meth lab.

I'm jealous! A decent easel for a decent price was what took me the longest to fine. Nicer easels are all metal and heavy, which makes them expensive to ship. It sounds like you have everything you need to get started (you didn't mention a safelight though. Those are important). As long as those chems are in sealed, undamaged packages, give them a try. No harm experimenting to see if they're still good.

That's a good lens. Should treat you well and will cover all formats you will need for a while.

 

[Paul Howell]

The filters in Omega color heads are prone to fade over time, there are replacement filters to be found on line. If the second enlarger is a D3 heads are interchangeable with D2, so swapping out the color head for the condenser head ought not be a big job. Just need to buy a supply of the correct blubs for the color head while they are available. I have printed color with my variable condenser head using Unicolor and Kodak color filters. A foot switch is good to have, makes burning and dodging much easier. The AF rails are matched to a set of lens, over the years I've changed lens so many time I don't even think about my D3 as AF.

 

[AgX]

Enlarger bulbs are designed to be a bit more consistent than incandescent household bulbs needed to be, with the shape of the bulb and evenness of illumination being particularly important.

Classic, opalized enlarger bulbs are even less consistent concerning output than household, as they are overrated and thus burn off in shorter time.
Here in Europe the common models have the same shape as households bulbs.

 

[John Koehrer]

If the lens is the older silver version it's a 25mm thread.
RE: cones, As I recall the 50 is on a flat plate and the 2" extension would be for +/-100mm a deeper cone around 5-6" would be for 135-150.
Most new lenses 70's + should be 39mm but there are some larger uncommon exceptions

 

[norm123]

There is 2 lens cones. One around 2 1/2 inches for the 135 mm or the other 4 inches for the 150mm. I'm using the 212 lamp (150 watts) with a heat glass. The 211 is 75 watts and the 213 is 250 watts.