Another enlarger?

[Richard Littlewood]

Currently I'm using an old MPP micromatic 5x7 enlarger with a cold light. This is used with 5x4 negs, and I'm pleased with the very even illumination and light colour. I also have a small condenser enlarger for smaller formats. When I use the condenser enlarger I find there is a quality I like that is absent with the diffused cold light head, so I'm after a 5x4 condenser enlarger. I would ideally have gone for a 5x7 condenser enlarger, but they are as rare as hens teeth. Does any one have any oppinions on the Omega D3? I know about the so called auto focus - my MPP has this daft system also, in fact the chassis on both look remarkably similar. It's the light source that I'm concerned about - are they up to the job?

[Pete Watkins]

The MPP's were also available as condenser enlargers but somthing tells me that they did not cover 5x7 in this form. I would suspect that if a miracle occoured and you could possibly find the parts to convert it to a condenser enlarger. Why not try The MPP Users Club, they might be able to offer better advice than mine?
Good luck.

[Pete Watkins]

http//:www.mppusers.freeul.com/

[Pete Watkins]

I will get it right!
http://www.mppusers.freeuk.com/
sorry.

[Richard Littlewood]

There was a condenser version of the 5x7 Micromatic, but it (for some reason) turned it into 5x4. Again very hard to obtain. What about the D3? Thanks.

[Conrad Hoffman]

I have and use an Automega D3, and am quite happy with it. The trick is finding all the various bits and pieces necessary to do what you want. For me, that's three condenser sets for 35mm, 2.25x2.25, and 4x5. Then there's the issue of focus rails. It turns out that you can guesstimate the curve required for any given lens, and make it out of sheet aluminum. Or just look for used ones. They don't have to be matched as closely to the lens as said, because who'd ever make a print without a careful final focus? Finally, you need the correct length lens cones for each lens, and suitable neg carriers. There is also a useful masking accessory with four blades that attaches to the condensers to reduce stray light. Note that the focus is via a small cam that rides on a plastic button. The button is usually gone and the cam slightly rough. Replace the button with a piece of Teflon and smooth out the cam- great focusing after that! As you can see, this is an enlarger for the mechanically inclined. Most people might be better off with the later D5 (I think?) having adjustable condensers and less quirkiness.

[Gem Singer]

Hi Richard,

For all you need/want to know about Omega-D enlargers, see Harry Taylor's website, www.classic-enlargers.com.

Harry re-builds Omega enlargers and sells complete enlargers, as well as the parts and accessories for Omegas.

You may want to consider the Omega-D2, with the original condenser lamphouse. I have been using a D-2 that I purchased nearly fifty years ago, and is still going strong.

[neil poulsen]

Aren't the standard large Durst 5x7 enlargers condenser based? They're fairly common.

[John Berry ( Roadkill )]

I found the same thing when I changed over to a durst 138 condencer enlarger. I used a coldlight for 20 yrs and was happy with it. A friend and mentor that graduated from Brooks in 68 recomended the change, knowing my printing preferences. I am always trying to get those weston zone 2-3 details. He explained that coldlights tend to want to flatten out some on the ends. It has proved to be true. I am able to get more punch in the bottom end than before. Trying to get the values with development in those zones without effecting the rest of the curve proved unfruitful for me. I highly recomend the durst 138, just make sure it has all the condensers so you can use it for everything. The lightsource being back from the neg helps some with negative pop if you aren't using glass carriers. Many pluses to this enlarger. Unless you are dead set on the D-3 give this one a looky. John Berry

[Hans Berkhout]

John where do you get your replacement light bulbs for the 138?
The Durs condensors are of optical quality, not pressed glass: this will explain in part the tonal separation you're referring to.