Two-enlarger setup - split functions?

[jay moussy]

Suppose one has a Beseler 23C II, and then (maybe, by chance) acquires same but with the Besler color head, best way to maybe split work across the two - for "plain" B&W, to be clear?

 

[Todd Barlow]

Maybe:
1) Colour for Multigrade printing, Condenser head for paper flashing, contact printing?
2) Printing 2 different negs without have to change set up until happy with the results.

 

[ic-racer]

Although most enlargers can be configured for multiple formats, the re-configuration is not always so simple. Changing mixing boxes and negative carriers can mean re-centering the whole system for even illumination of the edges. Changing lenses can mean re-alignment of the focus stage, etc. So I have set up each enlarger for a specific format.

 

[Ian Grant]

I agree with Todd, Colour head for MG, the other for flashing or where a condenser enlarger might be better.

In my case it;s two enlargers with colour heads a Durst for 35mm to 5x5 and a De Vere 5108 for 5x4 to 10x8 as well as 6x17 and the odd6x9. Either way the 3nd enlarger gets used for flashing.

Ian

 

[Paul Howell]

I have a 2 enlarger set up, one for 35 to 6X6 the other for 6X9 to 4X5, as noted I can work on 2 negatives at the same time. When I was printing color I could print color in one and while a test print was drying print a B&W. Also can make multiple exposure prints as long as I stick to 35mm and 6X6 negatives.

 

[xkaes]

I have two enlargers as well -- both 4x5" -- but that doesn't solve the need to reconfigure things.

One is normally set up with a color diffusion head and the other with a condenser head, but I frequently still need to change things for a variety of reasons -- but having two enlargers cuts the re configuring in half.

 

[peoplemerge]

Print two negatives at the same time means achieving twice the throughput. I use the same tray with papers usually same size sandwiched back to back.

Really reduces my frustration when it takes longer than I’d like for an acceptable print. My brain has already started the creative process on another neg.

Multiple enlargers is essential when doing compositing, which requires precise easel placement.

 

[faberryman]

Print two negatives at the same time means achieving twice the throughput. I use the same tray with papers usually same size sandwiched back to back.

Really reduces my frustration when it takes longer than I’d like for an acceptable print. My brain has already started the creative process on another neg.

I guess printing two negatives at the same time is an advantage if you are in a hurry and have a deadline to meet. I am not in a hurry when I am printing. If I had two enlargers, I would not print two negatives at the same time. Everyone has a different way of working though.

If you have the space, I'd acquire the second 23C with color head. You may want to print color in the future. You also will have an opportunity to compare a condenser head with a diffusion head for black and white, to see which you prefer. Other posters have suggested other benefits. Worst case you could use it for spare parts for your existing 23C.

 

[Tim Stapp]

I have three enlargers, each set up for one format. One for 135mm, one for 6x7 and one for 4x5.

4x5 gets used the most, although after the flood that destroyed all my negatives except for the one in the 135 enlarger: that may change short term.

 

[Richard Jepsen]

i agree if you are printing bot small and MF in one session having two enlargers saves some time. There are other reasons for a two enlarger setup.

I once had 2 LPL 7700 type enlargers. One was a condenser and the other a dicho. At the time I used mostly graded paper and had limited tray space. When the negative needed 1 grade higher print contrast I used the condensor enlarger. Over time I moved back to multigrade paper and kept the condenser LPL because the color head transformer on the 2nd LPL was noisy and took space. Additionally, on my negs, I saw more contrast in the low values. The low value tone separation was of more value to me than masking dust which a diffused head facilitates but does not eliminate.

Later I operated a LPL 7700 for MF negs and 1c or now Valoy 2 dedicated for 35mm. In the 1c or Valoy case I wanted the option of printing a black border which the Leitz‘s negative carrier pulls off with no fuss.

Now I only use the LPL with small format. My minor complaint with this excellent enlarger is the elevation control is not as butter smooth as a 1c and the Leitz helicoid focus more refined.