8x10 enlarger from a sinar p

[Drew Wiley]

I used a long rail and front standard of a Sinar P for one of my vertical enlargers simply because this is very solid and gives me much more precise alignment control
than any typical enlarger per se. However, everything else (except the lens) was custom built, including the oversized bellows. I would agree that 8x10 enlargers
are easy to acquire nowadays (at least compared to how expensive they once were), and that one can simply acquire a full unit. In my case I wanted something
very solid and precise. ... where the Sinar rail clamps (yes I use multiple) would ordinarily attach to a long bar, then a tripod, in this case the whole assembly
attaches to a heavy precisely machined-bronze micrometer-driven device which allows even finer tuning in every plane. I cannibalized this from a WWII mortar
sight, then finished it to match the rest of the enlarger. Something like that would have probably cost at least five thousand dollars to custom machine, but I
snagged it for free, military surplus. While my neighbors were fooling around rebuilding sports cars and speedboats, I was tinkering on enlargers.

[redshift]

I used a long rail and front standard of a Sinar P for one of my vertical enlargers simply because this is very solid and gives me much more precise alignment control
than any typical enlarger per se. However, everything else (except the lens) was custom built, including the oversized bellows. I would agree that 8x10 enlargers
are easy to acquire nowadays (at least compared to how expensive they once were), and that one can simply acquire a full unit. In my case I wanted something
very solid and precise. ... where the Sinar rail clamps (yes I use multiple) would ordinarily attach to a long bar, then a tripod, in this case the whole assembly
attaches to a heavy precisely machined-bronze micrometer-driven device which allows even finer tuning in every plane. I cannibalized this from a WWII mortar
sight, then finished it to match the rest of the enlarger. Something like that would have probably cost at least five thousand dollars to custom machine, but I
snagged it for free, military surplus. While my neighbors were fooling around rebuilding sports cars and speedboats, I was tinkering on enlargers.

I thought I was obsessed with precision!

[Tin Can]

Sports cars keep gaining value, yet an enlarger produces value.

[Drew Wiley]

The value of the base micrometer mount is to be able to adjust the linearity of the rail absolutely in relation to the big vac easel, so that no plane shifts if there is
a significant change in position of the P front mount due to switching lenses of magnification etc. No conventional enlarger has this except in a primitive sense of
general integrity (some better than others). Since this device was intended to be used adjacent to the steady shock of heavy artillery, it was built extremely solid,
and makes a Majestic gear head look like a plastic toy out of a Cracker Jacks box by comparison. Because I live only six blocks from the infamous Hayward fault,
I chose a property specifically because it is one of the few places in the area underlain by granite (so any seismic waves pass thru quickly), and constructed a
machine like this very massively. The column is so dimensionally stable than I could leave a neg in there six months and it will still be in precise focus under a grain
magnifier. The colorhead itself requires block and tackle to lift for servicing.

[Tin Can]

Sounds great Drew!

Would you share a picture or 2 of the setup?

The value of the base micrometer mount is to be able to adjust the linearity of the rail absolutely in relation to the big vac easel, so that no plane shifts if there is
a significant change in position of the P front mount due to switching lenses of magnification etc. No conventional enlarger has this except in a primitive sense of
general integrity (some better than others). Since this device was intended to be used adjacent to the steady shock of heavy artillery, it was built extremely solid,
and makes a Majestic gear head look like a plastic toy out of a Cracker Jacks box by comparison. Because I live only six blocks from the infamous Hayward fault,
I chose a property specifically because it is one of the few places in the area underlain by granite (so any seismic waves pass thru quickly), and constructed a
machine like this very massively. The column is so dimensionally stable than I could leave a neg in there six months and it will still be in precise focus under a grain
magnifier. The colorhead itself requires block and tackle to lift for servicing.

[Drew Wiley]

One of these day perhaps, Randy ... It wouldn't be convenient to put lights in there or anything else for a shot this season, while it's in use. This darkroom is a little
cramped. The enlrgr is about 13ft tall, is equipped with a massive pin-registered easel with masking blades, and I've got a big steel rolling warehouse ladder in there to load it, a 40X60 cutting table for cutting rolls of printing paper and trimming final images, a bunch of huge papersafes, etc - so not a lot of wiggleroom for me too. It's more comfortable in the room where I keep the 5x7 color enlarger and the 8x10 cold light unit, because I only make prints up to 20x24 in there.

[Tin Can]

Sounds very interesting, my space is becoming smaller all the time also, I need to cull and concentrate.

Your description will have to suffice.

Thanks!

One of these day perhaps, Randy ... It wouldn't be convenient to put lights in there or anything else for a shot this season, while it's in use. This darkroom is a little
cramped. The enlrgr is about 13ft tall, is equipped with a massive pin-registered easel with masking blades, and I've got a big steel rolling warehouse ladder in there to load it, a 40X60 cutting table for cutting rolls of printing paper and trimming final images, a bunch of huge papersafes, etc - so not a lot of wiggleroom for me too. It's more comfortable in the room where I keep the 5x7 color enlarger and the 8x10 cold light unit, because I only make prints up to 20x24 in there.

[ic-racer]

Consider a horizontal approach. A cart on wheels to support the head would likely be easier to construct than a vertical column capable of supporting the camera and light source.

[Tim Meisburger]

I agree. Ansel's was horizontal. Also, less problem with negative sag and low ceilings.

[JW Dewdney]

yes i'm sure he'll go horizontal in the end. only way to do it half decently i'm sure.

as for your lens mounting, Redshift - I think you will find that you won't really benefit from it unless your bellows draw is SIGNIFICANTLY greater than your distance to your paper - just the same as you would do when shooting a pic. By reversing it - you're making the lens do unnecessary 'macro' work.One DOES reverse a lens usually - when one needs to magnify beyond 1:1 (your print much smaller than your negative - in this case)...