This carrier shift is a non issue on a manual enlarger but a huge deal on an AF system thats calibrated to 1/1000th of an inch, something that happens to the de vere carriers with the simple act of changing neg formats. Once it drops out you have to faf about recalibrating the carrier, something that barely ever happens on a Sentinel.
- De Vere Enlarger Manual Arts 2017
- De Vere Enlarger Manual Arts Video
- De Vere Enlarger Manual Arts 2016
- De Vere Enlarger Manual Arts 2017
You're not looking to buy a brand new B&W enlarger.
Know how I know? Because no one is looking to buy a brand new B&W enlarger. Sunlite dmx software.
May 01, 2017 When we shut our processing facility, the two de Vere 504 enlargers fetched almost nothing. Indeed, many folk just dumped them into skips. Printing is a lot easier with a really good enlarger. Durst M300 Enlarger Manual darkroom Vintage Camera Manual Instructions English. Dcr files. De Vere 507 Varicon 5' x 7' Enlarger VINTAGE and Needs Love - As Is / For Parts.
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But consider this. For people who want to practice old-fashioned, obsolescent film / analog / traditional / opto-chemical B&W photography (whatever you want to call it) from soup to nuts, start to finish, it's not the film or the chemicals or the cameras but the enlarger that might well be the bottleneck going forward.
The reason is that an enlarger is one of those devices that need to be serviced and supported by the company that made it. You might need different accessories as your needs change (different lamphouses, negative carriers, lensboards, etc.); parts might break and need replacing; bits that wear out or age (bulbs, electronic components) might wear out or age and require service. It might seem simple to buy a disused enlarger on the secondary market, but you'll probably have to choose among dinged-up, dusty devices more or less in pieces in a box, which could turn out to be missing who knows what part or accessory that you will end up needing to get the danged thing up and working.
So why not just buy new then? Several companies are still selling new enlargers. One—one of the best (I've always been a fan)—is LPL of Tokyo, which here in the United States always sold its products rebranded by importers. Saunders or Omega, principally. You can buy one new.
.But there's a hitch. They've become shockingly expensive. In 1983, the condenser version and the dichroic (color head) version of LPL's mid-line 670 model, a.k.a. the 7700, sold for $289 and $459 respectively. (Source? A page that includes a review by none other than Ctein!) B&H's current prices (and these aren't much higher than the factory-direct prices from Tokyo) are $2,473.95 for the condenser model and a rather eye-widening $5,595.99 for the colorhead model, without lenses (the significance of that last comment will become apparent below). That's not for LPL's best enlarger, mind you. That's for its mid-line good-enuff everyday meat-and-potatoes medium-format / 35mm model. I don't know about you, but in my area pretty decent used cars fetch those prices. Unless you're rich—not wealthy, not well-off, but rich—it would be silly to pay that, considering those enlargers will very soon have a residual value of a few hundred dollars or pounds if you're lucky.
So if you're not rich, you're pretty much forced into buying used. New is out.
De Vere Enlarger Manual Arts 2017
Easter egg
Or is it? Maybe not absolutely, at the present moment at least. Should you happen to fall in that fraction of a fraction of a fraction of Photo Dawgs who might actually consider buying a new B&W enlarger, here are two opportunities for you.
Or is it? Maybe not absolutely, at the present moment at least. Should you happen to fall in that fraction of a fraction of a fraction of Photo Dawgs who might actually consider buying a new B&W enlarger, here are two opportunities for you.
One is that Freestyle is closing out the Kaiser VP 9005 condenser enlarger. That one's for printing B&W with manually-inserted gelatin VC filters, but it's made in Germany, it's beautiful, and if you're a home hobbyist you won't be the least bit inconvenienced by having to use gelatin filters. And you can get it right now for only $759.99. That's without a lens. How great a deal is that? Great enough that I'd write this post on TOP about it even though none of you are in the market for it! Just on the off chance of making one fellow Dektol-breather out there blissfully happy. Fingers crossed.
And if you want one of those highly inflated LPLs? There's something for you too. An overstock outfit in Brooklyn has nine LPL 670 enlargers—again, the plain-jane condenser version—brand new in sealed boxes, for $849 or best offer.
That sounds maybe a tad dear compared to a used one (remember, new they cost $2,474), but there's an Easter egg in the box. These are kits—each of the nine enlargers comes bundled—packaged—with a lens. What might be easy for anyone but darkroom rats to miss is that the lens is no ordinary lens. It's Rodenstock's very best lens for 35mm, the Apo-Rodagon-N 50mm ƒ/2.8, a lens that alone sells for $671.99 new (and can be used on your digital camera too, by the way). Even on eBay they go for $300–400. You might have heard of legendary enlarging lenses for 35mm such as the Apo-El-Nikkor 105mm and the Leitz Focotar 40mm, but I know people who have compared them directly who say that the Apo-Rodagon-N 50mm can stand shoulder-to-shoulder with those legendary paragons of yore. It's the 35mm enlarging lens that graced my last darkroom. I chose it by buying three top enlarging 35mm enlarging lenses and pitting them directly against each other in careful tests. With those nine enlargers now on eBay, it's in the box.
Enough of this now, this fine Sunday. You might think this post is off-topic (!) since so few people do their own darkroom work now, and even fewer don't already have their own schtuff. But while it might not be of practical value, it's fun, for me anyway, even if in a nostalgic sort of way.
Mike
'Sunday Support Group' is an eclectic series of discursive digressions on topics random and sundry, offered in the hope they might help various subsets of our readership in their work and their ambitions, or that they might contribute to our mental, spiritual, psychic or physical contentment. It appears, as the title suggests, on Sundays.
Original contents copyright 2019 by Michael C. Johnston and/or the bylined author. All Rights Reserved. Links in this post may be to our affiliates; sales through affiliate links may benefit this site.
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(To see all the comments, click on the 'Comments' link below.)
Featured Comments from:
Featured Comments from:
Patrick Medd: 'Eccentric as it may seem I'm currently in the process of building my own darkroom. This will be the fourth time that I have had access to a darkroom but the first time that it will be a dedicated room in my house. I have more than one enlarger lying around in bits but this time I need to be able to print 4x5 and so I'm looking for an enlarger that can do that.
'Here in the UK the original manufacturers of De Vere enlargers are still active in some form (www.deveresecondhanddarkroom.com) and will supply you with a refurbished enlarger which they can still service (for the moment—I don't know how many young people starting out in life these days are thinking 'I know, I'll train to be an enlarger engineer—a job for life if ever I saw one'). So that's the route I'm heading down. Obviously it all costs money, but it's a sound investment and there's no doubt in my mind I'll always be able to get my cash back out of the project ;-) .'
adamct: 'The interesting thing for me is that unlike others who may have wanted an enlarger in the past but don't want one now, I don't want one now, but am likely to want one in the future (when, of course, a new one in good condition will be impossible to find)! I got started in film photography, but I got in just as digital was taking off. I was a young lawyer, working long hours at a law firm. I never did my own printing—after using labs for a while, I eventually bought a film scanner and did the hybrid thing for a while. But I've always wanted to try analog printing myself, and it is exactly the kind of thing I can see myself getting into.when I retire. At that point I will have the time and space to do whatever I want. But now? Even I can't justify buying one now (and I can justify just about any foolhardy purchase related to my hobbies!). As a certain photo-blogger is prone to say: 'Oh well.'
A certain photo blogger replies: At the various darkroom magazines I worked for, I always identified a healthy subset of the audience as what I dubbed 're-entry photographers,' borrowing the term from what used to be called the women's liberation movement—a re-entry woman was a woman who re-entered the workforce after her children were grown and had left home. Re-entry photographers were just what you're talking about: people (mostly guys of course, but a significant number of women) who had maybe taken a photo course in high school or college and had always appreciated it and wanted to do more of it, but had to wait until retirement to do so. The magazines always fretted about the average age of their subscribers—it was very high, in the 50s age range—but that was because advertisers have a knee-jerk preference for younger audiences. I never worried about it because I understood that darkroom work as a home hobby was much more viable for people who had both money and time (not to mention homes!), and that meant retirees to a large extent.
It's fair to say most people didn't like darkroom work. From my own audience here, my rough estimate is that one out of ten photographers who had to do darkroom work in the past enjoyed the experience and the craft of it, and the other nine thought it was a chore and are glad not to have to do it any more. But I was one of the 10%. For people like me, it was enjoyable, relaxing, and rewarding. But we were always a minority, and now very much more so. Still, I continue to think it's a viable hobby for the few people it suits. The fact that it's difficult and involved isn't a drawback if you enjoy it and are satisfied by it; my brother facets gemstones, for heaven's sake—he taught himself to do it when he was 14—and I know a guy who makes fine knives. Neither of those things are easy or convenient, and neither are necessary in order to end up with jewelry or a knife!
De Vere Enlarger Manual Arts Video
Bill Bresler: 'Buying a new enlarger? It's tough to give them away. Nothing sadder than the sight of a 23C with color head sitting at the curb on garbage day. The college where I taught a photo class or two for 16 years shut down their darkroom. Fifteen Beselers and a couple of 4x5 Omegas went into the dumpster.'
De Vere Enlarger Manual Arts 2016
Curtis: 'Dear Mike, If I remember correctly, you first recommended the Kaiser enlarger a couple of years ago. And, you are right, it is indeed a wonderful piece of kit. I bought one earlier this year and set up a tiny darkroom in the back of my wife's studio space. It's just for fun—really, I just play around trying to channel my inner James Fee and enjoy having the chance to make art in the same space as my wife. So, thank you for these niche recommendations!'
Mike adds:Interview with the late James Fee by Dean Brierly. (Note that in the picture of James he's standing in front of a Beseler 23C as mentioned by Bill above.)
Steve: 'Mike, I’ve been reading your blog for years. I loved the Leica challenge and ended up with an M3 with a 5cm Summicron Dual Range lens. Dearmond guitars serial numbers. My situation has changed after several years of digital and I’m ready to get back in the game. I bought the LPL enlarger. I’m looking forward to a long Wisconsin winter in the darkroom. Do you have any suggestions for a darkroom instruction book? I’m that 50 something year old guy who took a few college photography classes. Thanks for all your posts.'
Mike replies: Big question! I learned from David Vestal'sThe Craft of Photography, and was pleased to get to know David personally in later years and to enlist him as a columnist for Photo Techniques magazine. The standard (and simplest) instruction book back in the day was Henry Horenstein's Black and White Photography: A Basic Manual (third edition); Henry was at Harvard back then and is now at RISD (pronounced 'RIZZ-dee,' the Rhode Island School of Design). A personal favorite was Jack Coote's book for Ilford, Ilford Monochrome Darkroom Practice: A Manual of Black & White Processing & Printing (third edition). I used Ilford's fixing technique (and Ilford papers) and found Jack's discussions of variable-contrast paper and practices helpful. There are books that take you much deeper into the arcana, but save those for later. Abandon All Hope Ye Who Enter There.
De Vere Enlarger Manual Arts 2017
By the way, you didn't ask, but I'd recommend starting out with Ilford RC papers. They're very good, they have excellent permanence, and they're much easier to use than fiber base papers that you have to run a washing routine on and that really need to be flattened in an expensive drymount press after drying. After washing you can immerse RC prints briefly in a bath of distilled water and a few drops of Edwal LFN (four ounces will last you till about 2050) and hang them from their corners with wooden clothespins to dry. I'd also recommend liquid film and paper developers.saves you the chore having to mix powdered chemicals. Aside from that, the best advice with B&W film is something John Szarkowski himself once said in my hearing: 'expose enough and don't develop too much.'