Choosing an enlarger

[x-ray]

+1

Note that the Schneider recommended in the "Componon" series (all vowels are "o"s). There are also "Componar" and "Companon" lens series as well. The "Componar" series are less desirable though still good. The "Companon" series are excellent, but are special purpose lenses not usually appropriate for traditional darkroom enlarger use.

Be sure the lens chosen covers the intended negative format. In general:
35mm = 50mm lens
6x4.5-6.6 = 75-80mm lens
6x7-6x9 = 90-105mm lens
4x5 = 135-150mm

There have been a few 80mm lenses that cover 6x7 well, but this is not always the case.

I think you were meaning the comparon which is for intermediate enlargement ration. Can't remember the ratios but they are superb.

The componar is the economy grade as you mention and much better than voss. Sigor and other cheap lenses. The comparon was designed for high performance at intermediate ratios and quite good ant the componon was the top of the line. It was replaced by the Componon S which is an updated version.

The componar is Tessar formula as is the comparon. The Componon and Componon S are plasmat 6 element I. 4 groups.

Many cheap lenses like Voss are triplets in cheap plastic mounts and are reay bad as a rule. About all they are good for Imo is a hand magnifier to look at your negs with.

I would highly recommend any of the lenses I previously mentioned. You can't go wrong with the EL Nikkor, Componon, Rodagon or Fujinon EX. The Fujinon lenses are rare but from experience are possibly the best Ive ever used. I currently EL Nikkors in 50, 80, 100 and 150 on my D5 and use a Schneider Componon S 150 and Schneider 210 G Claron on my Durst. The G Claron is a very high resolution Apo process lens designed for reproduction on a process camera. It has virtually no distortion or aberrations and has a very flat field. Process lenses are excellent for enlarging but rarely are found in short focal lengths. I used a 240mm G Claron for 8x10 enlarging for many rears.

 

[x-ray]

I used a Leitz Focomat IC for forty years and sold it like an idiot. I thought about getting another but then thought about a Leitz V35. Without question the V35 is probably the best 35mm enlarger but the issue is finding replacement bulbs. There were 2 versions of the V35 and bulbs aren't available for either. The later version there's a substitute but it's my understanding it's quite dim and not a good alternative. The 1C is excellent but many have been stored and are t in good shape and parts are missing or rusted. Prices are generally more than they're worth too. If you find a good 1C at a reasonable price buy a stockpile of 211 or 212 opal bulbs. They will be gone soon too. The 1C and V35 only take 35mm.

There is also. IIC which takes up to 6x9 negs but they are very expensive. A nice one will run between $1250 and $2000 or more.

Durst made some plastic junk so be careful you do t buy one of those.

 

[miha]

Hello,

I am looking for an enlarger. I would like to try B&W first but I will consider color once I acquire some skills. I shoot 35mm currently, but I am enjoying film so much that for sure in the mid-term I will extend to medium-format (6x6). Regarding enlargment size, I have a Jobo processor with two drums that accommodate 30x40 cms, so that will be my maximum size.

There is a great choice of second-hand enlargers at very reasonable prices out there, and I am not sure which brand/model to select. After quality, my second factor for choice will be the size of the device.

Thanks in advance for your advice.

I would go for one of the European brands like Kaiser, Dunco or if you want a professional enlarger look for a Durst. El-Nikkors are as good as any 6 element lenses. If you want to go colour in the future (are you sure about hat?) choose a model with dichroic head, which is also perfect with Multigrade B&W papers. If you go for a condesor head (B&W only) you'll need to match condensors with film size / lens focal length.
Good Luck!

 

[Santtu Määttänen]

Though it would be a GREAT project for some to build up a library of negative carrier plans for different enlargers for a 3D printer.

This! Why haven't it been done yet is a mystery. I'm currently looking for glass 6x12 carrier for Beseller 45.

My answer for OP, go with what you can find cheap in good condition and with at least the most of the accessories you need. Enlargers are cheap these days and those that want to get rid of theirs are facing either landfill or finding a buyer. There's tons of good enlargers out there. Make sure that yours is sturdy, equipped for negative sizes you want to do and enlargement sizes you need (either with long enough rise or with 90 degree tilt for wall projection).

 

[BillBingham2]

I'm not sure how hard Anti-Newton (I think that's the correct name) glass is to find but with the internet it shouldn't be impossible. Making channels to hold the glass is pretty easy design. Glass-less should be easy too.

Make the hinges like a military ammo can top (you put them together or separate them with ease.

B2

 

[rfaspen]

Its already been said, but I'll say it too. Don't buy a cheap enlarging lens. Mostly because the good ones are selling for such low prices these days, it seems silly not to just get one. I have EL Nikkors, Schneider Comparon, and an old Kodak Ektar for my setup.

Hasn't been said yet (explicitly): I recommend moving into medium format B+W before thinking about color. Color printing isn't a trivial transition, so maybe as much fun and experience with B+W in 35, then 6x? formats first? The recommendation for a grain focusing device is good. I couldn't get along without one. See if you can find a decent darkroom timer too. I have the standard GrayLab timer and its been wonderful. An easel is pretty handy too, but not always necessary. You already know you're going to need trays, bottles, forceps (I'd use them now), and chems. Color printing brings on more gear. The least expensive darkroom tools I own are dodging and burning tools -- ah, time for some creativity.

My current setup? Omega B22. My main criteria were also quality and small size. I think I satisfied both. The B22 does 35 and 6x6 nicely. I've fudged 6x7 but if I remember correctly there were issues -- no surprise. I'm pretty sure there was a color head, a diffusion head, and a "cold light" diffusion head made for the B22, but they all seemed uncommon and expensive during the years I considered such things. I hear great things about the "good" Durst enlargers, and some of them are nice and small.

My small and sturdy enlarger sees almost no use these days. A victim of hybrid workflow. Poor thing. Maybe this year we'll do some ol' fashioned printing. Its fun, but messy, smelly, time-consuming, a little expensive, and in my situation I can only do darkroom activities at certain times of the day -- late night being best, but I'm often very tired by then 🙂

I should stop with the negativity. I'm very glad to see there's still new interest in printing.

 

[Bill Clark]

I own the Omega B-22 enlarger. Bought it new in the 1960s. Later, when I had saved money, bought the Chromega color head.

I only make black and white darkroom prints.

Here is a spot to view the enlarger like I own:


http://www.khbphotografix.com/omega/index.html

Click discontinued then click B-22

--------

I corrected the previous post as I had the wrong model number.

 

[x-ray]

I own the Omega B-22 enlarger. Bought it new in the 1960s. Later, when I had saved money, bought the Chromega color head.

I only make black and white darkroom prints.

Here is a spot to view the enlarger like I own:


http://www.khbphotografix.com/omega/index.html

Click discontinued then click B-22

--------

I corrected the previous post as I had the wrong model number.

The B22 is one of the best. It's just a small D2 which has been the workhorse of the industry since the 40's. The good thing about the B22 other than excellent construction is the availability of cheap carriers and parts. Omega enlargers are so cheap now you can buy one just for parts. I bought another D5 for a hundred dollars a few years ago and it had an Ilford B&W head on it. i bought it for a spare and parts to repair my D5 if it ever broke which it probably won't.

 

[B-9]

I also got addicted to a Grain-Focusing tool....

B2 (;->

I found one of those, New in the box... threw it in with my enlarger when it all went for storage.

I was surprised and excited when I was unpacking to find it!

Thanks for the confirmation Bill!

 

[BillBingham2]

For me, the key reason to look for a solid enlarger is that I like to focus wide open and then stop-down to where I want to expose (f8-ish).

With respect to the LED bulb for B&W paper should be fine, though keeping in mind you will need to do some adjusting as the color output of the LED might be very different from the incandescent bulbs you use. The key is lack of printing on the bulb. Most of the replacement LED bulbs that I've seen/purchased at Wally-World don't have any printing on the bulb. They also are the same socket as regular bulbs that I've used in B&W enlarger heads. I never wanted to do color, tried a few times and while I'm not colorblind, I find I'm not sensitive enough to judge tints on prints anywhere near well enough to make me happy.

I used a florescent head on my De Jour for years, but out a bluer colored light than the condenser head, but that was a lot of years back. I need to build a DarkRoom again......

 

[Nokton48]

I had an Omega B22 in the seventies and it was great. Durst is excellent too.
The silver Schneider Componons can be had for $10-$50 for the small ones.
The 60mm is an improvement over the 50mm for 35 enlarging. Big improvement.
Not too hard to find. Recently I collected all the silver Componons, from 50mm to 360mm
Easy to take apart and clean the inner elements, too. They tend to get milky.
I clean them with dishwashing soap in the kitchen sink. All you need is a spanner.

Below--

The Big Boy. 360mm F5.6 Schneider Componon.
An XMAS present to myself.

2016-01-26 18.16.55 by Nokton48, on Flickr

 

[x-ray]

For me, the key reason to look for a solid enlarger is that I like to focus wide open and then stop-down to where I want to expose (f8-ish).

With respect to the LED bulb for B&W paper should be fine, though keeping in mind you will need to do some adjusting as the color output of the LED might be very different from the incandescent bulbs you use. The key is lack of printing on the bulb. Most of the replacement LED bulbs that I've seen/purchased at Wally-World don't have any printing on the bulb. They also are the same socket as regular bulbs that I've used in B&W enlarger heads. I never wanted to do color, tried a few times and while I'm not colorblind, I find I'm not sensitive enough to judge tints on prints anywhere near well enough to make me happy.

I used a florescent head on my De Jour for years, but out a bluer colored light than the condenser head, but that was a lot of years back. I need to build a DarkRoom again......

I just converted my Durst 138 to LED because no suitable incandescant build is currently made except a G40 150w which is too dim. If you convert to LED buy a 3000K bulb if available. 3000k is clos to the color of the original bulb and variable contrast filters and paper will work properly. Try to find a bulb with the highest CRI to more closely match tungsten light. I found with my 138 that it prints like the tungsten source. Each contrast filter prints like I would expect with a tungsten bulb. One improvement using the LED is more even illumination.

 

[Trius]

I just converted my Durst 138 to LED because no suitable incandescant build is currently made except a G40 150w which is too dim. If you convert to LED buy a 3000K bulb if available. 3000k is clos to the color of the original bulb and variable contrast filters and paper will work properly. Try to find a bulb with the highest CRI to more closely match tungsten light. I found with my 138 that it prints like the tungsten source. Each contrast filter prints like I would expect with a tungsten bulb. One improvement using the LED is more even illumination.

One of the owners at Photo Outfitters in Windsor, ON, created a variable contrast LED enlarger source by using the three primary colours and a control for varying the time each colour is on.

I don't know if he has or can make it available for sale.

The shop and its owners are VERY cool.

http://www.photooutfitters.ca

 

[x-ray]

One of the owners at Photo Outfitters in Windsor, ON, created a variable contrast LED enlarger source by using the three primary colours and a control for varying the time each colour is on.

I don't know if he has or can make it available for sale.

The shop and its owners are VERY cool.

http://www.photooutfitters.ca

Looks like a cool shop.

Switching three color led's on and off would create a problem when you burn and dodge. If they're dimable then the intensity could vary on each creating the correct color / contrast throughout the entire exposure. You could dodge and burn then.

I use an Ilford variable contrast head on my D5xl. It uses two halogen bulbs shining through dichroic filters. On filter is yellow and the other magenta. The light goes through each filter into a white mixing chamber with a diffuser that's positioned over the neg. by varying the ratio of yellow and magenta you get grades 0-5 in 1/2 grade increments. This could work with led's just as well.

 

[calebarchie]

Better off using blue and green.

 

[FujiLove]

I use a Durst AC707 and can highly recommend it. It can handle up to 6x7, is nice and solid, has a built in timer and colour analyser (works surprisingly well) and switchable condensers for 35mm and larger formats.

I picked mine up off eBay UK last year for about £80 including two Durst lenses, a full set of masks, glass etc. and colour test negatives, viewing filters and a load of other darkroom equipment.

 

[DNG]

I had an Omega B8, and yes, it did have a color head made to for it... The Chromega and Super Chromega (very large) was the model name. Made for the D series (4x5), it had an accessory B lamphouse kit. (not the Chromega B version)

The B22 with the modern Chromega B color head is a much better combo for B&W and Color

 

[Dwig]

I think you were meaning the comparon which is for intermediate enlargement ration. Can't remember the ratios but they are superb. ...

Correct, they were for low magnification enlarging (1:1 to 4x if I remember correctly) and often used in machine printers. Their quality is excellent, but they are no designed for the magnification range typically employed in normal enlarger use.

 

[Trius]

Looks like a cool shop. Switching three color led's on and off would create a problem when you burn and dodge. If they're dimable then the intensity could vary on each creating the correct color / contrast throughout the entire exposure. You could dodge and burn then. I use an Ilford variable contrast head on my D5xl. It uses two halogen bulbs shining through dichroic filters. On filter is yellow and the other magenta. The light goes through each filter into a white mixing chamber with a diffuser that's positioned over the neg. by varying the ratio of yellow and magenta you get grades 0-5 in 1/2 grade increments. This could work with led's just as well.

Yes, he may have used timing instead of on/off - I'm working from faulty memory from 2009. 🙂

 

[x-ray]

I had an Omega B8, and yes, it did have a color head made to for it... The Chromega and Super Chromega (very large) was the model name. Made for the D series (4x5), it had an accessory B lamphouse kit. (not the Chromega B version)

The B22 with the modern Chromega B color head is a much better combo for B&W and Color

I had one of these heads on a D2 years ago. It actually was a mice head. I also used the 5x7 version on an E series Omegs in the early 70's.

I always thought they were cool looking. Sort or like something out of a SiFi movie.