Wow--just as I was feeling really good about the "new" enlarger I
bought the day before yesterday I see this Email from Jim which makes
me somewhat envious.
Anyway, my new enlarger is considerably lower tech than Jim's, but I'm
still quite excited about it. It's an Omega B-8, a medium format model
that's more or less a scaled down D-2:
http://www.khbphotografix.com/omega/Discontinued/B8.htm
http://www.classic-enlargers.com/
Bob Marvin
From: Jim Brick <jim@xxxxxxxxx> Subject: [rollei_list] Re: OT: Enlargers (long)
When I re-did my darkroom a number of years ago, I had the same thoughts. I was getting rid of a Leitz V35 and an Omega D2 and wanted something that could easily and precisely handle all formats from 35mm to 4x5, print any color process easily, and the same for B&W.
After much searching, I settled on a ZBE Sentinette wall mount enlarger with a ZBE Starlite 55 head. The Sentinette is a modified DeVere 54 chassis which is rock solid and always square. The Starlite 55 head is completely microprocessor controlled and can output up to 1100 watts of light. When you key in a CC color balance, the head turns on and the microprocessor reads the individual colors via sensors and adjusts the light o/p to be exactly what is keyed-in. If you make a test strip and find an exposure time, then make a non test strip print at that time, then decide to change the color balance, the microprocessor adjusts the light o/p so that the exposure time will remain constant for the density that you printed for, ie; you can crank up the magenta until the cows come home, and the print density will remain the same. You will have a v-e-r-y magenta print but the print density will be what you wanted. In the B&W mode, you can select paper grade 0 - 5.5 in .1 steps. After making a good print, you can change the paper grade up or down and the middle gray print density will remain the same.
Also, you have complete control over the light o/p intensity. You can select from -90 to +90 with each 30 being one stop of light. If you key-in, say, + or - 90 and the head cannot accurately supply that light, it will select the max that it can offer (+ or -) and then adjust your exposure time to compensate for the difference. This is a very cool head.
I use 45/90/150 Schneider APO Componon HM lenses and I print everything at f/8. My standard print size is 20x24 and I adjust the light output (they call it density) to give me an exposure in the 15 to 30 second range. With easy to print stuff, I pretty much print 20 sec @ f/8. For a lot of dodging and burning, I go out to 30 sec. 75% of my printing is Cibachrome, 25% B&W. At f/8 APO Componon HM lenses are incredibly sharp, corner to corner.
I also bought a used Beseler 45V-XL chassis and a second (used) Starlite 55 head - for the Beseler. This chassis was used by some city (used very little) and is the completely motorized version. I am re-setting up my enlarging bench to accommodate both enlargers, with a drop table below the Beseler. With motorized controls, I can raise/lower and focus the enlarger while down on the floor.
The reason for this long diatribe is that I, like you, searched for a very stable enlarging platform that would stay square, not shake, and allow me to easily print large prints from 35mm through 4x5. I can attest to the fact that the ZBE (DeVere) and the Beseler 45V-XL chassis are built like tanks. I also know that the LPL enlargers are strong and square. These are what schools typically buy for their darkrooms. And they have great neg carriers to boot.
I had my first darkroom in 1950. I had an old Federal enlarger. It was old in 1950! Since then I have had many many enlargers and heads. What I have now I find to be the best I have ever had. The APO Componon HM lenses are, without a doubt, the best enlarging lenses I have ever ever used. I wouldn't trade what I have now for anything I know that currently exists.
Of what you listed in your post, I would definitely choose the LPL and the APO-Componon lenses. Great enlarger, great lenses, and both B&W and color heads. You cannot miss.
IMHO,
Jim
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