Crude 11X14 Enlarger Mockup...Success!

[John Layton]

The 11x14 mockup mostly provided me with the quickest and most logistically feasible/least “invasive” means of testing the overall viability of my 305 G-Claron lens, not just to evaluate its overall (apparent) sharpness over my desired reproduction ranges, but also to see that I can indeed make convenient use of the space I currently have available, given the negative stage to easel distance while projecting to a “maximum” of at least 40x60 inches.

With both of the above boxes checked and looking forward…I will indeed now be carefully considering my existing 8x10 horizontal enlarger to see how I can incorporate it into a workable 11x14 enlarger...as it really makes no sense to have two completely separate horizontal enlargers.

But from where things sit now, and given the design specifics of both the existing (8x10) enlarger and the 11x14 camera, I’m guessing that an expansion back will not be not be in the cards…but I cannot yet rule this (or anything else) out until the morning coffee kicks in and I’ve had a chance to mess about with this a bit more - so stay tuned!

Edit (a bit later): then again..."design specifics" are malleable and, as an "instant gratification junkie" who should really be considering the longer view - it does become obvious that yes, an expansion back will likely be my best bet!

[dsphotog]

Next, 14x17...

[John Layton]

Having studied a bit more carefully the components I'll be working with and adding to, I'm now feeling a bit more "protective" of the light path between light source, negative, lens, and easel. With this in mind I'm thinking that instead of creating an expansion back for the 8x10 enlarger, I'll actually create an expansion back for the 11x14 camera.

Keeping in mind that the entire top assembly of the 8x10 enlarger is very quickly removable from the rolling base by removing two bolts, and that the front and rear standards of the 11x14 camera can then be affixed to this base, with the camera's horizontal/vertical film back removed, it should be quite possible to fit, in place of the film back...an expansion back incorporating a negative stage and light source, giving me a "format size" large enough to have the margins of an image be well inside the light path, with the added bonus of having a larger bellows "throat" overall...helping to mitigate possible bellows induced flare.

Finally, I think I can extract the geared focussing plate, stripped down so that just the lens carrier remains....from that same Beseler enlarger from which I'd salvaged the motorized rear frame upon which the enlarger wheeled carrier rides. Furthermore this focus plate is long enough that I can effectively move the focus wheel significantly forward of the lens assembly (which itself will be far enough above this so that light rays will remain unblocked), to allow me to comfortably (without too much of a stretch).. reach this focus wheel while also holding my grain focuser against the wall-mounted easel - an important consideration when the easel to lens distance necessary to project to 40X60 is 63 inches!

At any rate...my brain is a bit fried at this point and I'm going even more bald from so much head scratching and so need to take a break, also reminding myself that I've got a few other irons in the fire and need to be patient...especially with respect to whatever will be the light source, which I see as my biggest challenge. But its great to get a good start and figure stuff out just the same!

[John Layton]

More progress this morning: Here you see the 11x14 camera (standards minus film back) placed upon the enlarger’s wheeled carrier. (has potential…but I still need a way to focus):



Here is the focus mechanism/bellows assembly from the same Beseler 45 enlarger from which I’d salvaged the motorized rear frame (on top of which the enlarger carrier attaches):



Here I’ve salvaged the Beseler 45 focus rail, inverted and attached it to the carrier, then mounted the 11x14 camera’s front standard to one end of this rail (did not need to drill any holes or compromise the camera or focus rail in any way, which is always nice if I ever want to re-assemble the enlarger):



The beauty of this focussing rail is that the distance between its wheeled focus crank and the front standard will enable me to position the enlarger at the distance required between it and the easel to make a 40x60 print, while at the same time allowing for a very comfortable reach between this crank and the easel for using my focussing magnifier. Keep in mind that this is only a “proof of concept” assembly, and that I will likely be adding some kind of positioning cradle to hold accurate alignment. Also, despite the focus rail’s very robust construction, I will be adding some small wheels underneath where the standard attaches…to relieve any stress and correct whatever small amount of deflection might be present without such added support.

[Tin Can]

Beseler 45 CB7 has power focus slow and fast

It will fit

Cheap Robot sensor will add autofocus

[ic-racer]

More progress this morning: Here you see the 11x14 camera (standards minus film back) placed upon the enlarger’s wheeled carrier. (has potential…but I still need a way to focus):

Moving your cart back and forth with a pole or cables is a good way to focus while viewing the projected image with a magnifier. Yes the image gets bigger or smaller, but the same is true moving either the lens or negative stage. Unless one has an autofocus enlarger, one is always fiddling back and forth to get both the size and focus correct.

[John Layton]

A couple more photos...showing side/front and side/rear views of the camera affixed to the motorized base. The fixing points are very tight and so the bases squareness (once dialed in and fixed) is maintained throughout the enlarger's travel:





While this base is great for keeping things straight as well as adjusting distance, its actually not that effective as a focus control...as visible focus changes through such means happen much more slowly and less distinctly than by moving the lens position relative to the film plane. Realizing this was a bit of a disappointment as I'd first envisioned using both the motor and hand wheel as rough and fine focus controls.

Later Edit: with respect to (and out of respect for) ic-racer's comment about focussing with the whole carriage...I imagine that this could indeed be quite effective for my horizontal setup if I had a better loupe. Right now I'm using a Bestwell Microsight...decent loupe but that's about it. If I could find myself a Peak 1...now that might make a difference!

[Mick Fagan]

If you do eventually get a Peak focusing aid, then you will most likely be holding it in your left hand when up against a vertical wall. Due to the design of the Peak and the fact the mirror is on the right side, and the whole thing is quite heavy.

Having used De Vere horizontal enlargers (10"x10") with motorised focusing using a long cable to a forward and backward button box. I can attest to the frustrations of getting dead accurate focus. Essentially you find the approximate focus, step back or forwards a bit more than required, then reverse the focus hoping to hit accurate focus.

An endless pully arrangement using rope or some kind of cable, could in some ways, be quite handy; as mentioned by ic-racer.

[John Layton]

Mick I think I'll do OK...as I've indeed managed with basically the same arrangement for printing horizontally from 5x7 inch negatives to 40x60 inch prints.

Of course, the grain with the 11x14 negs. will be quite a bit smaller but as the earlier test with the mockup has shown...still visible enough.

Getting everything in alignment edge to edge, and keeping it there, especially with an arrangement like mine basically cobbled together from plywood, does take a bit of extra consideration...and I'm thinking that a Peak 1 loupe might be a good tool to help with this.

[esearing]

Filter holder for split grade printing - after lens or at light source?