Request - Educate me about enlargers

[ashfaque]

Hello Everyone,

I know very little about enlargers and whatever I know is only through internet forums and youtube videos.

From what I've gathered Kienzle, Kaiser enlargers are quite good and both are modular. I mentioned those because I really like their midular nature that could potentially help me to bring one in various parts and to be able to update as and when possible. I guess there are other good brands that has this modular thingy too.

But there are so many types and terms (for e.g., condenser, diffuse(r), multi-grade, b&w, dichroic, various lamp types, etc. used in the forums) that I'm now confused. I intend to get an enlarger for up to 6×9 medium format negatives b&w and if not prohibitively expensive, for colour too.

Could you please educate me and recommend me some references. Imagine I know nothing about easels, timers, etc. My plan is to buy one (preferably a used and modular one) later this year or in early 2016.

Bests,

Ashfaque

[Argentum]

In the UK I would get either a Durst or Kaiser if you want a ready supply of spare parts because Kaiser are still being made.

See http://www.film-and-darkroom-user.or...splay.php?f=87

for 6x9 the Durst M805 is the one to go for. But they are rare. People who own them don't tend to sell them.
The l1200 which is 4x5inch enlarger is one of the best you can get if its in good condition. But its bigger and heavier than an M805.

Nearly all makes are/were modular. For black and white I would get a condensor head with a filter drawer above the lens. But if you are going to do colour (which you probably wont) then get a colour head which is usually diffusion and will do B+W too.

For learning a condesor head with above the lens filter drawer using Ilford Multigrade filters makes life a lot less complicated and easier to print.
Colour heads leave you in a lot of doubt until you know whats going on.

[alexmuir]

Hi. Most enlargers consist of a baseboard, a column, a negative stage and a light source. Baseboards are simply a wooden or composite board on which to sit the printing paper. You can put the paper in a frame called an easel. These are seperate accessories. The column rises from the base and holds the head(negative stage and light source) and allows the head height to change, varying the degree of enlargement. The design of column varies. I prefer flat, or box-section types. The negative stage is the part of the head that holds the negative and the lens. A focus mechanism is incorporated. Lenses are seperate accessories and,although they have aperture controls, the focus mech is part of the enlarger. On many models, there are removable lens panels. They can have different threaded holes to accommodate different lenses. Above the lens is usually a slot where the negative holder fits. These are often hinged with top and bottom plates. Some have removable inserts which are changed to accommodate different negative sizes. They can also have glass plates to help hold negatives flat. Next up is the light source. Condenser heads, which are popular for B&W, consist of a bulb shining through condenser lenses, either directly, or via a 45deg mirror. Diffuser types, often for colour, have diffusion boxes in place of the condensers. Dichroic filters are colour filters normally built in to a colour head. These can also be used for printing Multigrade/variable contrast B&W papers.
These are the basics, but there are variations. You can do B&W with a colour head, but I doubt that many would recomend colour with a condenser head and seperate filters. I would suggest that you research models of more modern design that can accommodate the largest negative size you want to print. Then have a look at how many are advertised for sale to see what's popular. You are more likely to be able to get accessories and spares for something recent and abundant than old and obscure. I would also avoid equipment that was cheap when new since there is such a large choice of quality gear at low prices. One thing about colour enlargers. They often need a transformer, so make sure one is supplied with any prospective purchase.
Alex

[Argentum]

Methinks you should get a book and read it.

Tim Rudmans, "The Photographers Master Printing Course" is very good.

[ashfaque]

@Aregntum and Alex: Thanks a lot for your advices and references.

Bests,
Ashfaque

[JohnX]

Up to 6x9 is the thing, might as well go for a 5x4 which is the a leap from medium format.
There is much more choice and generally the equipment is cheaper for mf enlargers up to 6x7, 6x9 shoves you in to the large format category, there are a few exceptions but they are thin on the ground.
If it has to be 6x9, you're probably looking at a 5x4 enlarger and the associated cost and availability caveats.

[ashfaque]

John: Thanks. If possible, I definitely will. Seems you're reading my mind. I may be wrong, but the impression I got from reading a few tech specs is that the 4x5 inch negative enlargers are significantly heavier than MF ones (up to 6x9). I guess I'll have to read on enlargers and make some summary notes.

By the way, why is Tim Rudman's book on toning so expensive?

Bests,
Ashfaque

[Argentum]

Tim Rudmans book on toning is virtually the only one and he is the font of all knowledge when it comes B+W toning.

first edition sold at normal book prices but it was a limited print volume. When it sold out second hand ones started selling on auction sites for a lot of money, 100s of pounds/dollars.
So he did a second print run and which sold for normal book prices which must have made those who paid high prices for used very happy.
Now I guess the second print run sold out and its back to high prices for used. I have mine under lock and key

The book I recommended won't cost nearly as much but it does have some begginers toning pages.

[alexmuir]

Hi again, Ashfaque.
I use, and like, Durst enlargers for medium format, but for a relatively inexpensive 6x9 you could consider the Meopta Magnifax IV. I had one with the Colour 3 head and it was a solid piece of equipment. Others here use and like them. The spare bits were also easily found and inexpensive. The 6x9 Durst I have is big and needs more room than the Meopta. It's bits are more sought after and relatively expensive.
You mentioned timers. Basic ones tend to count down in seconds, either with a dial, or digital display. Better ones do 0.1 secs as well. Sophisticated models work in f-stops, and may include a meter/analyser to determine exposure. They are seperate from the enlarger and generally interchangeable between brands.
Alex

[Mike O'Pray]

Ashfaque, if you can't find the Tim Rudman Toning book at a reasonable price then see if you can get the one by Tony Worobiec called Toning and Hand Colouring Photographs. Not as detailed or as technical as Tim's but still pretty good and yes it does include a section on hand colouring which might be useful

ISBN 1-85585-931-9

Mike