Photographer
Tim Summa
Posts: 2514
San Antonio, Texas, US
GEAR: “What to do with an old but good enlarger”
In any decent darkroom the thing is not just the enlarger, it is the alchemical items that surround that enlarger.
So post here and we can talk about details by PM. Lets all begin to share resources, if you want something/need something for that dream darkroom. Now don’t be bashful, I perhaps have what you are looking for.
I will get that ball rolling…in the darkroom you need lights. I have them and guess what, I have Kodak Wratten round ( 51/2 inch) and rectangular (10X12 inch) filters. There are others as well, so talk.
Photographer
Tim Summa
Posts: 2514
San Antonio, Texas, US
Tim Summa wrote:
GEAR: “What to do with an old but good enlarger”
In any decent darkroom the thing is not just the enlarger, it is the alchemical items that surround that enlarger.
So post here and we can talk about details by PM. Lets all begin to share resources, if you want something/need something for that dream darkroom. Now don’t be bashful, I perhaps have what you are looking for.
I will get that ball rolling…in the darkroom you need lights. I have them and guess what, I have Kodak Wratten round ( 51/2 inch) and rectangular (10X12 inch) filters. There are others as well, so talk. Here is what I said I would do over in off topic discussion.
Now to add to this discussion here is a useful piece of information. A METAL 2 pound coffee can that you find at the grocery store, the one with the top you open by lifting the plastic/aluminum seal is the exact size to fit a Kodak Wratten 51/2 inch safelight filter. The coffee can even has a recessed lip that the rubber gasket around the filter will fit perfectly and light tight. You can tape this but I used tree self tapping sheet metal screws around the rim. Putting a hole in the bottom of the can to allow the cord and light through and you will have a safe light. Because you will use, between a 7 watt to a 25 watt bulb in the fixture it will not get so hot that it will over heat.
I have made several of these.
By the way, that same coffee can will take a fresnel lens used around pools to cover the lights. I have placed three lights (LEDs) behind one of these lenses to make a simple adjustable spot for studio work.
Love that non-Stare Bucks home brew.
Photographer
Giacomo Cirrincioni
Posts: 22232
Stamford, Connecticut, US
Great idea Tim.
I myself use the Thomas Duplex safe lights (sodium vapor).
I'd really like to get my hands on an 8x10 enlarger, preferably a Durst or a Saltzman.
Photographer
Toto Photo
Posts: 3757
Belmont, California, US
I've got a Bessler 45 MX with Nikon lenses and a Zone VI cold light head. I've called schools and colleges, nobody wants it or my Gralab timer.
Photographer
CN Thompson
Posts: 14
Beaufort, South Carolina, US
I second that great idea Tim!! I am currently (slowly) building a darkroom, love the idea for the coffee can filters for safe lights (especially since I do not have any safe lights yet). I looked through your port and would love some examples of the coffee can fresnel lights too. I got lucky and picked up 2 enlargers off of craigslist ridiculously cheap an Omega C700 & Omega B66. Not sure which one I want to keep as the only film I am currently shooting is 6x7. If anyone is interested in bulk film loaders for 35mm PM me as I have 2 of those as well, and have no need for them. They are Watson model no 100's. I still need a paper safe, safe-light, and a 6x7 carrier, along with a enlarger lens suitable for 6x7 negatives, and I think I will be able to start printing myself.
Photographer
DougBPhoto
Posts: 39248
Portland, Oregon, US
I would totally give a good home to gear in my area.
Photographer
Roy Hubbard
Posts: 3199
East Stroudsburg, Pennsylvania, US
I'm currently on the lookout for some better lenses. I'm also having a hell of a time finding an f/stop timer on the used market.
My Beseler 45MXT came with Rogonar lenses. They served well enough to get me started, but I'm starting to feel the constraints. I picked up a Rodagon 80mm f/5.6 lens for 6x7 because it was cheap, but I'm pretty sure I'd be better off with something longer. Also need a decent lens for 4x5.
Photographer
Tim Summa
Posts: 2514
San Antonio, Texas, US
CN Thompson wrote:
I second that great idea Tim!! I am currently (slowly) building a darkroom, love the idea for the coffee can filters for safe lights (especially since I do not have any safe lights yet). I looked through your port and would love some examples of the coffee can fresnel lights too. I got lucky and picked up 2 enlargers off of craigslist ridiculously cheap an Omega C700 & Omega B66. Not sure which one I want to keep as the only film I am currently shooting is 6x7. If anyone is interested in bulk film loaders for 35mm PM me as I have 2 of those as well, and have no need for them. They are Watson model no 100's. I still need a paper safe, safe-light, and a 6x7 carrier, along with a enlarger lens suitable for 6x7 negatives, and I think I will be able to start printing myself. I will PM you about the darkroom.
About the Watson bulk loader. Do every one a favor and send both to the land fill, these are crap bulk loaders. They are made of regular plastic and under the right conditions static discharge can release visible static charge and you now have lovely vaporous looking trails and lighting bolts.
Any one needing a bulk loader of 35mm the Alden-74 is the gold standard. I have several and if you pay shipping, I will mail these. Also, I have cassettes.
Now the killer fun, you MUST be a LEICA dude, PM me and we can talk about my Leitz bulk film loader...ney, I have the cartridges (3 piece) and the metal felt lined cartridge holders.
Also, I have a 70mm bulk film loader that takes a type of 70mm double perforated film and some cartridges to hold the film. I loved using this in a Blad with 35mm film loaded in it. Why? Kodak High Speed IR came in 35mm. Yes, I'm that old.
Photographer
Tim Summa
Posts: 2514
San Antonio, Texas, US
Roy Hubbard wrote:
I'm currently on the lookout for some better lenses. I'm also having a hell of a time finding an f/stop timer on the used market.
My Beseler 45MXT came with Rogonar lenses. They served well enough to get me started, but I'm starting to feel the constraints. I picked up a Rodagon 80mm f/5.6 lens for 6x7 because it was cheap, but I'm pretty sure I'd be better off with something longer. Also need a decent lens for 4x5. Ok Mr. Ron what I want is to get gear information out there and so I am not doing this as a PM; everyone this should be in a PM but I want to make a BIG POINT, so listen up.
IF YOU ARE NOT USING IT, LETS GET IT TO SOMEONE WHO CAN AND WILL!
That is my message. Now, let he finish up with Ron.
Ron PM me with your address; it is Christmas in November for Mr. Ron…
Schneider-Kreuznach Companon f5.6/135 Pay the shipping and it is YOURS!
A Ron, when you PM me, tell me to leave this lens on a standard square Bessler board, or not…right now it is mounted on a Beseler metal board.
Photographer
Tim Summa
Posts: 2514
San Antonio, Texas, US
Roy Hubbard wrote:
I'm currently on the lookout for some better lenses. I'm also having a hell of a time finding an f/stop timer on the used market.
My Beseler 45MXT came with Rogonar lenses. They served well enough to get me started, but I'm starting to feel the constraints. I picked up a Rodagon 80mm f/5.6 lens for 6x7 because it was cheap, but I'm pretty sure I'd be better off with something longer. Also need a decent lens for 4x5. Please, what is a "f/stop timer"?
Photographer
Giacomo Cirrincioni
Posts: 22232
Stamford, Connecticut, US
Roy Hubbard wrote:
I'm currently on the lookout for some better lenses. I'm also having a hell of a time finding an f/stop timer on the used market.
My Beseler 45MXT came with Rogonar lenses. They served well enough to get me started, but I'm starting to feel the constraints. I picked up a Rodagon 80mm f/5.6 lens for 6x7 because it was cheap, but I'm pretty sure I'd be better off with something longer. Also need a decent lens for 4x5. Tim Summa wrote:
Please, what is a "f/stop timer"? F stop printing (which an F-Stop timer simplifies) was developed by master printer Gene Nocon. You can see him explain it in this video:
http://www.youtube.com/watch?v=xoAiBNSpg6Y
And here's a link by a company that manufactures such a timer:
http://www.rhdesigns.co.uk/darkroom/htm … nting.html
Essentially you calculate the logarithmic function for time to exposure. This way, when you want to dodge or burn, instead of thinking in terms of seconds, which is hard for many to visualize, you think in terms of stops. I don't have a timer, but I have a printed chart that I refer to, such as this:
![https://4.bp.blogspot.com/-NZpFovoGBfM/UaYAUmSpXOI/AAAAAAAABMo/MAp4XxfCOc8/s1600/Capture.JPG]()
So, for example, if your base exposure is is 32 seconds and you decide that you want to burn in cloud detail for a third of a stop more exposure, you would burn for 8.3 seconds.
Photographer
Herman Surkis
Posts: 10856
Victoria, British Columbia, Canada
Toto Photo wrote:
I've got a Bessler 45 MX with Nikon lenses and a Zone VI cold light head. I've called schools and colleges, nobody wants it or my Gralab timer. Guy several of us rent studio space from has one of those plus a Chromega. Tkaes up a ton of room. Cannot convince him to get rid of them, or to at least put out of the way.
Photographer
Dan Dozer
Posts: 664
Palm Springs, California, US
Toto Photo wrote:
I've got a Bessler 45 MX with Nikon lenses and a Zone VI cold light head. I've called schools and colleges, nobody wants it or my Gralab timer. If you're looking at selling those, go over to either the APUG or Largeformatphotgraphy forums and you will probably be much more successful.
Photographer
Dan Dozer
Posts: 664
Palm Springs, California, US
Giacomo Cirrincioni wrote:
Roy Hubbard wrote:
I'm currently on the lookout for some better lenses. I'm also having a hell of a time finding an f/stop timer on the used market.
My Beseler 45MXT came with Rogonar lenses. They served well enough to get me started, but I'm starting to feel the constraints. I picked up a Rodagon 80mm f/5.6 lens for 6x7 because it was cheap, but I'm pretty sure I'd be better off with something longer. Also need a decent lens for 4x5. F stop printing (which an F-Stop timer simplifies) was developed by master printer Gene Nocon. You can see him explain it in this video:
http://www.youtube.com/watch?v=xoAiBNSpg6Y
And here's a link by a company that manufactures such a timer:
http://www.rhdesigns.co.uk/darkroom/htm … nting.html
Essentially you calculate the logarithmic function for time to exposure. This way, when you want to dodge or burn, instead of thinking in terms of seconds, which is hard for many to visualize, you think in terms of stops. I don't have a timer, but I have a printed chart that I refer to, such as this:
![https://4.bp.blogspot.com/-NZpFovoGBfM/UaYAUmSpXOI/AAAAAAAABMo/MAp4XxfCOc8/s1600/Capture.JPG]()
So, for example, if your base exposure is is 32 seconds and you decide that you want to burn in cloud detail for a third of a stop more exposure, you would burn for 8.3 seconds. Guys - you don't need to spend any money to do F-stop printing or buy a separate timer to do it. If you have a normal old Gralab timer (analog not digital), just take a round piece of paper the size of the face of the timer and draw some scale lines on it that reflect the principal of what you see in this chart and put it over the face of your timer. For example, one stop difference is equal to doubling or halving the time on the timer. So, going from 16 seconds to 32 increases by one stop. Just draw secondary lines at increasing thirds between those and you're good to go. The third stops are not equal, they're progressive. So, 1/3rd more than 16 seconds is about 20.2 seconds and 2/3rds is about 25.4. So, if you draw major lines at 8, 16, 32 and 64 seconds, you cover four full stops of exposure. You can then draw secondary lines at the progressive thirds between those for your 1/3rd stop times. If you have digital timer then you can just use this chart. Don't get confused about how complicated his chart looks, the principal is really pretty simple.
When you make a test print, make the different exposures in terms of portions of f stops (say each one is a half stop more), not 5 seconds more each time for example. It gives you a much more even gradation of tones in your test print because the different exposures are not all the same.
Photographer
AgX
Posts: 2851
Philadelphia, Pennsylvania, US
Toto Photo wrote:
I've got a Bessler 45 MX with Nikon lenses and a Zone VI cold light head. I've called schools and colleges, nobody wants it or my Gralab timer. Do you have a foot switch for your GraLab timer? I'm looking for one for my GraLab 525.
Photographer
Toto Photo
Posts: 3757
Belmont, California, US
Toto Photo wrote:
Do you have a foot switch for your GraLab timer? I'm looking for one for my GraLab 525. No, always wanted one back in the day though.
Photographer
Roy Hubbard
Posts: 3199
East Stroudsburg, Pennsylvania, US
Dan Dozer wrote:
Guys - you don't need to spend any money to do F-stop printing or buy a separate timer to do it. If you have a normal old Gralab timer (analog not digital), just take a round piece of paper the size of the face of the timer and draw some scale lines on it that reflect the principal of what you see in this chart and put it over the face of your timer. For example, one stop difference is equal to doubling or halving the time on the timer. So, going from 16 seconds to 32 increases by one stop. Just draw secondary lines at increasing thirds between those and you're good to go. The third stops are not equal, they're progressive. So, 1/3rd more than 16 seconds is about 20.2 seconds and 2/3rds is about 25.4. So, if you draw major lines at 8, 16, 32 and 64 seconds, you cover four full stops of exposure. You can then draw secondary lines at the progressive thirds between those for your 1/3rd stop times. If you have digital timer then you can just use this chart. Don't get confused about how complicated his chart looks, the principal is really pretty simple.
When you make a test print, make the different exposures in terms of portions of f stops (say each one is a half stop more), not 5 seconds more each time for example. It gives you a much more even gradation of tones in your test print because the different exposures are not all the same. Thanks for posting this. I've seen the chart before and am familiar with the concept, but the notion of fractions of a second led me toward something along the lines of:
http://www.rhdesigns.co.uk/darkroom/htm … ional.html
I've been right on the verge of sucking it up and just throwing $500 across the pond, but your method is definitely worth a shot with my Gralab 300.
Photographer
Roy Hubbard
Posts: 3199
East Stroudsburg, Pennsylvania, US
Tim Summa wrote:
Ok Mr. Ron what I want is to get gear information out there and so I am not doing this as a PM; everyone this should be in a PM but I want to make a BIG POINT, so listen up.
IF YOU ARE NOT USING IT, LETS GET IT TO SOMEONE WHO CAN AND WILL!
That is my message. Now, let he finish up with Ron.
Ron PM me with your address; it is Christmas in November for Mr. Ron…
Schneider-Kreuznach Companon f5.6/135 Pay the shipping and it is YOURS!
A Ron, when you PM me, tell me to leave this lens on a standard square Bessler board, or not…right now it is mounted on a Beseler metal board. This man deserves a beer. He deserves all the freaking beers.
Photographer
Stephen Fletcher
Posts: 7501
Norman, Oklahoma, US
You might make one into a hat rack.
Photographer
Tim Summa
Posts: 2514
San Antonio, Texas, US
Roy Hubbard wrote:
This man deserves a beer. He deserves all the freaking beers.
Here is a heads up for those reading this, Ron needed a lens for his 4X5, it will be there by the end of next week or before. All he pays is forthe shipping. So, what do you have, what do you need to make your vision happen?
As to beer, there is no hope, I lived in Bavaria for three years...beer, in America?
Way back when I was just out of collage (Sam Houston State University) I wanted desperately to get into large format photography. I loved the schools view cameras and used them when ever possible. About 6 months after I graduated I was soooo lucky to get my first job with M.D. Anderson Hospital, and to say they had it all would be such an understatement.
My parents dragged me to one of their friends places where the retired people from the military live just off Fort Sam Houston. The old aging retired Col who was buddies with my parents took me out to his ‘play room’ in the back. We talked, I guess he liked me and they had no kids. When we left that afternoon that old guy had given me an old Linhof Technique with holders accessories and 7 lenses! Yes I was elated and walked on clouds for moths and down the road of photography I went.
Over the years I have paid this back as one book end, the other book end for my life is a simple notion…if you got it and your not using it and there is a worthy member of the order of photon junkies, well you got to see that they will have what your not using, don’t need and they are desperate to do their fixation.
Several of you will remember my mad attempt to some how tip at windmills over the internet model. Yes, I was being an idealist; can’t help myself, but I did realized that it was a dead end street. When I read The Clickers observation it was the sense of wonderment that is in his written appeals to humanity, as well as the lurking madness of his creative desire. But I needed practical and I slept on it (something I learned from catz!) I woke the next morning with this silly saying bounding about in my noggin,
“What this country needs is a good five cent nickel!”
It all fell neatly into perspective. Now like Click, I have my mission and I think that it will alter Model Mayhem just a little. So stay tuned, cause I plan to make something happen around here; and of course with some help from the community.
“How Model Mayhem was altered it it’s tenth year without the issue of a soap box”.
Photographer
Light and Lens Studio
Posts: 3450
Sisters, Oregon, US
I have two Bessler MX45 enlargers. I think one has a cold head (not sure - haven't used them for 20 years)
I have a box of high end enlarging lenses (Schnieder and Fuji)
Timers, Paper Safe, 20X24 trays, chemicals, a jobo film processor, safelights, etc etc.
I'm at the stage of downsizing and consolidating.
These are at my 2nd home up in WA and I will inventory the lot and post it here in the next couple of weeks.
Been snowed in now for 8 days. Made it out (a bit of a hairy trip) for groceries and diesel yesterday. Hopefully things are about to thaw out for a while.
Photographer
Giacomo Cirrincioni
Posts: 22232
Stamford, Connecticut, US
Light and Lens Studio wrote:
I have two Bessler MX45 enlargers. I think one has a cold head (not sure - haven't used them for 20 years)
I have a box of high end enlarging lenses (Schnieder and Fuji)
Timers, Paper Safe, 20X24 trays, chemicals, a jobo film processor, safelights, etc etc.
I'm at the stage of downsizing and consolidating.
These are at my 2nd home up in WA and I will inventory the lot and post it here in the next couple of weeks.
Been snowed in now for 8 days. Made it out (a bit of a hairy trip) for groceries and diesel yesterday. Hopefully things are about to thaw out for a while. This is a fabulous setup. I LOVE my Jobo. Anyone in PNW who is interested in learning to shoot, develop and print film, should be all over this.
Photographer
DougBPhoto
Posts: 39248
Portland, Oregon, US
Giacomo Cirrincioni wrote:
This is a fabulous setup. I LOVE my Jobo. Anyone in PNW who is interested in learning to shoot, develop and print film, should be all over this. *nods*
or even those who already knows how, but have not had access to darkroom goodies for years.
Photographer
Dan Dozer
Posts: 664
Palm Springs, California, US
Thanks for posting this. I've seen the chart before and am familiar with the concept, but the notion of fractions of a second led me toward something along the lines of: http://www.rhdesigns.co.uk/darkroom/htm … ional.html I've been right on the verge of sucking it up and just throwing $500 across the pond, but your method is definitely worth a shot with my Gralab 300. $500 for a freaking darkroom timer! Are you serious? I can't even believe people would pay that kind of money. I'm sure that the RH Design unit is a top quality piece of electronics, but you certainly don't need to spend that to make the system work for you.
If anyone wants to see how to do it for nothing with an old Gralab 300 timer, send me a PM with your E-mail address. I'll take a photo or two of my Gralab 300 that doesn't cost a dime to turn it into an F-stop timer.
Photographer
BTHPhoto
Posts: 6985
Fairbanks, Alaska, US
I have a prolab B66 enlarger that I would consider trading for contact printing frames, for a UV light box, for unicolor style tubes and roller bases, or for specific view camera lenses.
Photographer
mophotoart
Posts: 2118
Wichita, Kansas, US
I threw all mine in the trash, enlarger, timer, red lights, everything...no one wanted them for free even...took the chemicals to the hazardous waste...
Photographer
Lallure Photographic
Posts: 2086
Taylors, South Carolina, US
I donated mine. Along with all the other small darkroom gear.
I spent too much time in the darkroom, anyway. I was not unhappy about getting rid of, the darkroom, after almost 40 years of doing that, with everything from B&W to C-41, to E6.
Photographer
Roy Hubbard
Posts: 3199
East Stroudsburg, Pennsylvania, US
It always strikes me as interesting how long-time film users are migrating away, while photographers bred in the digital age (me) are being drawn in.
People see me shooting film whenever I run one of my meetups and a few invariably express interest, with some going on to buy their own setups.
Photographer
L A F
Posts: 8524
Davenport, Iowa, US
Roy Hubbard wrote:
It always strikes me as interesting how long-time film users are migrating away, while photographers bred in the digital age (me) are being drawn in.
People see me shooting film whenever I run one of my meetups and a few invariably express interest, with some going on to buy their own setups. I started in the darkroom with a high school class, and actually shot film exclusively for a year. Once I got to my sophomore year of college, and managed to weasel my way into a photography class (I wasn't an art major so I technically wasn't allowed) I used the darkroom on occasion. But after that class ended, I didn't have a pass to the darkroom and switched to digital.
I still shoot medium format on occasion, but I have to send my prints out to be done. And although I still like them, not having control over the end product is a bit bothersome.
Thankfully, I'll be returning to the darkroom very soon. I was leasing a studio space with another photographer in town, but she just dropped out, so now I'm taking on the space as my own. I have more than enough room to shoot, so I'm hiring framers to build me a room for a darkroom and then I'll be building the interior with a friend. I'm hoping that eventually I'll be confident enough with my darkroom skills to not only do professional film shoots but to process film for other photographers. And shoot, with there being no other darkroom in the area, it'll be nice to offer that opportunity to other photographers that want to go back to their roots or just want to learn the ways of developing film and making prints.
Photographer
Roy Hubbard
Posts: 3199
East Stroudsburg, Pennsylvania, US
L A F wrote:
I started in the darkroom with a high school class, and actually shot film exclusively for a year. Once I got to my sophomore year of college, and managed to weasel my way into a photography class (I wasn't an art major so I technically wasn't allowed) I used the darkroom on occasion. But after that class ended, I didn't have a pass to the darkroom and switched to digital.
I still shoot medium format on occasion, but I have to send my prints out to be done. And although I still like them, not having control over the end product is a bit bothersome.
Thankfully, I'll be returning to the darkroom very soon. I was leasing a studio space with another photographer in town, but she just dropped out, so now I'm taking on the space as my own. I have more than enough room to shoot, so I'm hiring framers to build me a room for a darkroom and then I'll be building the interior with a friend. I'm hoping that eventually I'll be able confident enough with my darkroom skills to not only do professional film shoots but to process film for other photographers. And shoot, with there being no other darkroom in the area, it'll be nice to offer that opportunity to other photographers that want to go back to their roots or just want to learn the ways of developing film and making prints. That's going to be an amazing setup when it's done, and you'll be doing an awesome thing for photography in your area. Congratulations and best of luck.
Photographer
Bill Earle
Posts: 31
West Chester, Pennsylvania, US
I have an RH Designs fstop timer and some other darkroom gear for sale. PM me if interested.
Bill
Photographer
AgX
Posts: 2851
Philadelphia, Pennsylvania, US
Roy Hubbard wrote:
I'm currently on the lookout for some better lenses. ... I picked up a Rodagon 80mm f/5.6 lens for 6x7 because it was cheap, but I'm pretty sure I'd be better off with something longer. Because you're seeing light falloff in the corners with that focal length, or because you'd rather just be more in the sweet spot of the lens? I ask because I'm about to play with an 80/4 (many on APUG have claimed it works perfectly well) for my 6x7 negatives.
Roy Hubbard wrote:
I'm also having a hell of a time finding an f/stop timer on the used market. I know someone who had one available a while back. I sent him an email; he'll likely PM you if it's still for sale.
edit: oops, Bill beat me back here
Photographer
Roy Hubbard
Posts: 3199
East Stroudsburg, Pennsylvania, US
AgX wrote:
Roy Hubbard wrote:
I'm currently on the lookout for some better lenses. ... I picked up a Rodagon 80mm f/5.6 lens for 6x7 because it was cheap, but I'm pretty sure I'd be better off with something longer. Because you're seeing light falloff in the corners with that focal length, or because you'd rather just be more in the sweet spot of the lens? I ask because I'm about to play with an 80/4 (many on APUG have claimed it works perfectly well) for my 6x7 negatives.
I know someone who had one available a while back. I sent him an email; he'll likely PM you if it's still for sale.
edit: oops, Bill beat me back here I actually haven't gotten around to making any prints with it yet. Just going off of things I've read online. As with most things in this field, there are innumerable opinions on both sides of the fence. Only surefire way to know for sure is to test it yourself.
Thanks very much for the nod, Bill has been in touch and we're discussing via PM.
Photographer
Light and Lens Studio
Posts: 3450
Sisters, Oregon, US
Dan Dozer wrote:
Guys - you don't need to spend any money to do F-stop printing or buy a separate timer to do it. If you have a normal old Gralab timer (analog not digital), just take a round piece of paper the size of the face of the timer and draw some scale lines on it that reflect the principal of what you see in this chart and put it over the face of your timer. For example, one stop difference is equal to doubling or halving the time on the timer. So, going from 16 seconds to 32 increases by one stop. Just draw secondary lines at increasing thirds between those and you're good to go. The third stops are not equal, they're progressive. So, 1/3rd more than 16 seconds is about 20.2 seconds and 2/3rds is about 25.4. So, if you draw major lines at 8, 16, 32 and 64 seconds, you cover four full stops of exposure. You can then draw secondary lines at the progressive thirds between those for your 1/3rd stop times. If you have digital timer then you can just use this chart. Don't get confused about how complicated his chart looks, the principal is really pretty simple.
When you make a test print, make the different exposures in terms of portions of f stops (say each one is a half stop more), not 5 seconds more each time for example. It gives you a much more even gradation of tones in your test print because the different exposures are not all the same. ROTFLMAO
I would love to hear this presented to Ansel Adams and Edward Weston if they were still alive.
Yet another example of "techno overkill"
Photographer
Dan Dozer
Posts: 664
Palm Springs, California, US
Light and Lens Studio wrote:
ROTFLMAO
I would love to hear this presented to Ansel Adams and Edward Weston if they were still alive.
Yet another example of "techno overkill" You're kidding, right? What can you possibly mean by "techno overkill". People were asking about F-stop printers (which are horribly expensive) and I offered another alternative that doesn't cost anything. Furthermore, the theory behind F-stop printing is not much different from the Zone System (developed by Adams and others). F-stop printing is also very simple to use. How could you think this is "techno overkill"?
I don't really understand where you are coming from here.
Photographer
Giacomo Cirrincioni
Posts: 22232
Stamford, Connecticut, US
Light and Lens Studio wrote:
ROTFLMAO
I would love to hear this presented to Ansel Adams and Edward Weston if they were still alive.
Yet another example of "techno overkill" You apparently haven't read Adams' books.
Photographer
maso-arts
Posts: 1114
Cincinnati, Ohio, US
Photographer
Giacomo Cirrincioni
Posts: 22232
Stamford, Connecticut, US
My needs for next month.
A smaller print washer. I have really nice 20x24 and 16x20 print washers, but I'd love either an 11x14 or maybe even an 8x10 for washing LF film as well as smaller prints.
Photographer
Tim Summa
Posts: 2514
San Antonio, Texas, US
Lets talk about the practical aspects of the lens for the purpose of enlarging. Also, I am interested in the practical applications of doing photography. Of course there are certain ‘technical’ aspects, but I try to limit this to the world of the practical.
Some basics, any lens that is in use is considered a normal focal length when one has the width and the length of the film size such that the produced diagonal of the two dimensions give a distance from one opposing corner to the other corner. Thus for a full frame 35mm film (24 X 36 mm) will give us a diagonal of about 55mm. So a 50mm to a 60mm focal length is considered the ‘normal’ focal length of the lens.
Where many go astray is to loose sight of certain basic aspects of these base line concepts. One is that all lenses for practical purposes are always given for infinity. Yet all lenses have two realistic issues and that is the given information for that lens is engraved 50mm f 5.6; and yet there is the other known and that is ‘unity’. Unity is called ‘same size’ or 1:1, along with other identifiers. So the lens engraved 50mm f5.6 is also a 100mm f11 lens when it is functioning at 1:1.
When we are working with a lens that we are using as a enlarging lens, we need to consider the reality that the 50mm lens may in vary practical terms be working at 80mm of focal length. The lens is as well be working at f8.
This seems of no great consequence, and yet it has consequences. In the practical world of the enlarger we find that we are not so concerned with the focal length with one vary large exception. If a lens is to short or too long, it makes working with the enlarger impractical. When I say impractical, I am referring to an anchored device that may be subject to vibrations that cause loose of fidelity in the image due to long an extension up the column, or too short a working distance for magnifiers, hands or even the lifting of the bladed easel for paper insertion.
The problem realy comes down to the practicality of work and as the connivance and comfort of the printer. So the solution is quite simple, more than one lens should be available to do work in the darkroom.
As example, I want to print from a 2 ¼ negative with minor cropping and onto to easels to make a small print of 3X3 size, a print 8X8 and a print 14X14. For the 3X3 a 105 would be grand, but I don’t have one. So I put in the 135 for my 4X5 work, the standard print I do with the 90mm I have and for the 2 ¼ I have (I do 2 1/4 but also do 2 ¼ by 3 ¼ with the roll film back for my 4X5. For the 14X14 print I can use a 50mm.
Some will say this is not practical, and yet it is quite practical if I understand the principals in play and the use of the lenses. That 50mm, in the enlarging game is in reality being used at 65mm or 70mm focal length, depending on the area of the negative in use.
But now, that enlarger, what do we have? A diffusion head, perhaps. But most are using a condenser in their enlarger. So where do you put the condenser. Most have been speaking about their Bessler so lets stay there. Notice the aluminum arm on the side of the 45M enlarger (the same is true for the Bessler 23C II). On that engraved (CRUDE!) device you see negative holder sizes (who said these were film dimensions?). So a 2 ¼ or a 4X5, what are these realy? They are in fact focal lengths associated with those film sizes, and they are traditional sizes. 4X5 is 135mm, 2 1/4x2 1/4is 75mm where in 2 ¼ X 2 ¾ is 90 mm, and of course the 35mm is a 50mm lens. The markings are best covered over with tape and you should set your enlarger for an average elevation. Then place a negative carrier in the carried bay and see the range of your lenses covering power. Here is that practical warning, stop the lens down ONE stop. No one in their right mind ever prints wide open, lenses are NEVR as sharp as they can be wide open. Many require a half or another full stop from the already stop down position.
Now here is some more practical help. IF you can get to access a Leitz Focotar 1a, 1b or 1c enlarger you will have your eyes ripped open. Not only will a Focotar 1c need NO focusing aide as it is a true auto focus enlarger, but, the Focotar I lens will be crystal clear and be in sharp focus wide open. It gets a little creamy when you close it down to f16, but I guess you don’t want to close it down all the way! Here is another kick in the head, see the three positioning screws where the lamp is held and that fact that the lamp is on a shaft? That is because this is a point light source enlarger straight from the factory! Now all of this is not to run about praising Leitz (but I DO!), it tells you that an intrical part of your enlarger is the condenser(s). And most are made by some independent and slapped into that enlarger.
Here is another vary practical aspect to your enlarger, the lamp. On your 45M Bessler you can put a PH 111A, which is designed for later versions of the Bessler 23C II enlargers, but because it screws in you can use it on the 45M units. A PH 111A is 75 watts, as is the PH 111. The PH 112 is 150 watts. Where people screw up is the PH 113; this is NOT just a 250 watt lamp, it is color balanced to tungsten. So yes you can print color with it, BUT it was never designed for that purpose. It is in fact used when printing with chloride papers, as in warm toned papers. Warm tone papers made strongly of chloride content do not respond well to the cool color light like the Bromide papers. So with bromide papers you will need a PH 211 or PH 112, but printing predominately chloride papers (warm tone), you need a PH 113.
Let me know if you want more of this, it will help you in the darkroom to get better prints. Like you are printing on variable contrast paper, what does your enlarging easel look like? Is it white, or is it perhaps yellow. ALL easels should be painted matt black to retard any reflection of light back through the back of the paper. This is true for all modern papers, and it FORCESS you to put the focus paper in the easel.
Photographer
Tim Summa
Posts: 2514
San Antonio, Texas, US
Giacomo Cirrincioni wrote:
My needs for next month.
A smaller print washer. I have really nice 20x24 and 16x20 print washers, but I'd love either an 11x14 or maybe even an 8x10 for washing LF film as well as smaller prints. We are PM to get Mr. Giacomo an early Christmas present because Santa says he is a vary GOOD LAD! LOL!!!
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