Zone VI Type 2 Variable Contrast Enlarger, any advice for new user?

[Robert Langham]

Moving my Omega 5X7 out and installing a Zone VI wall mount Variable Contrast head Type 2 enlarger to print 4X5 and 5X7 negatives. Any advice? I've only used Omega and Bestler over the years. Thanks!

85193 Ansel at Yosemite in 1975.

[cowanw]

I put this out on another post, didn't get any reaction, but I still think it has value.
I use the same enlarger and split print because my green and blue lamps are either on full or off, no proportional values.
I printed out a step wedge to get these percentage green and blue times for different grades.
The spacing in my post doesn't come through, but just follow the headings in order in each line


Grade Blue Green Stouffer steps (21)

5 100% 0% 5.5 steps
4.5 80% 20%

4 76% 24% 6 steps

3.5 52% 48%

3 43% 57% 8 steps


2.5 35% 65%

2 28% 72% 9 steps

1.5 22% 78%

1 18% 82% 10 steps

0.5 12% 88%

0 8% 92% 11.5 steps

00.5 3% 97%

00 0% 100% 13.5 steps

[Robert Langham]

Thanks for that input. I'm going to hand-copy it onto a big white card so I can read it by safelight. I'll be on Ilford Warmtone Multigrade...I think. Have some Oriental Warmtone Multigrade coming.

85226

[Peter Lewin]

Robert, I will assume that the bulbs in your enlarger do follow the rheostat, I.e. they are not limited to completely on or off. The following is a good starting point for settings and exposures: www.bnimages.com/files/zonevicontrast.pdf
It will need some personal modification since the contrast of your negatives plays a role (at least it does for me).

[Robert Langham]

I'll take a look. Head is on the timers, lenses, carriers, cords all still in transit. Ichy to print. Just have two little exams to give on Wednesday. Thanks!

85228

[Robert Langham]

CowanW: This is the percentage splits of two separate exposure that together would make up 100% of the exposure time, correct? So two exposures for each print? Interesting method, if I am understanding it correctly. Does your enlarger not change color as you move the rheostat? So you just print at one end of the scale or the other?

85229

[cowanw]

Yes, the rheostat gives me only on or off, although the dimmer works as does the focus/timer switch. But no, not at one end or the other, but at one end of the scale and the other,as there is an infinite combination of the two exposures
So it functions as a split printer, which I think simplifies things, one brings the blacks up and the other brings the whites down.
While the actual grade of the print is some what academic, the chart helps me move between my other two enlargers both yellow/magenta, grade for grade.
Incidently 10 sec on green plus 10 sec on blue does not equal 10 sec on green and blue.

[Peter Lewin]

Robert, one other hint that I'm not sure is written up: The head has a stabilizer circuit that works with the heater to keep the exposure "lumens" constant (otherwise the intensity can drift a bit, making successive prints not as predictable as they should be). There is a little green diode on the head which glows when things are stabilized, and goes off when they are not. In my experience, if you are not making an exposure for a few minutes, so the bulbs cool down, the head can become "unstable." So I make it a habit to put the enlarger on "focus" when my print is in the fixer, which warms everything up again for my next exposure. Otherwise what sometimes happens to me is that on, say a 30 second exposure, the green light will either not be on when I start, or perhaps go out during the exposure. I don't know if this is true for all of the zonevi heads, or if my heater circuit is not working as we'll as it should. Just keep an eye on that diode when you are printing.

[neil poulsen]

I've heard that the three-knob controller for the Type II enlargers can be optimally adjusted to the particular head. You could check this out by calling the Calumet repair shop.

[Robert Langham]

Thanks for the input. Nothing better than asking folks with experience.

85237

[neil poulsen]

I'll add another.

I have both the Type I and the Type II. Negative carriers are really hard to find, and when they appear on EBay, they're expensive. I'm sure that there's a way to easily build a homemade adapter to use Omega D2 negative carriers with the Type II.

As another possibility, I had a colleague a few years ago who contacted a local plastic contractor, and they built him negative carriers for formats he didn't have. They used a laser to cut that material to size. If you have one lensboard, then one could build others based on the specifications one could measure from the one.

[Robert Langham]

Neil: If I confessed about all the negative carriers I have cut through the years out of museum board....well..... At least I never scratched any negatives. I still have them from the early 70s going strong. I can't think of the last time I used a metal carrier in my own darkroom. A 4X5 and a 5X7 are coming with the electrics, plus four others.

The ones I cut were to fit all the standard sized, plus two 35mm frames in a row, odd-sized vintage negs, THREE 35mm frames in a row, two 120 frames in a row. Early ones were quite carefully made and hinged with linen tape. Later ones a bit less without fancy cuts on the outside. Hollowed them out to get full frame images. Seems like it was a suggestion of Ted Orland, Ansel's assistant.

85257

[ROL]

You're likely to need at least one glass "carrier" support for 4X5, and certainly 5X7. I use one (made for Z6) on the bottom and a metal cutout (Z6) on the top. In practice you could try one piece of "good" glass on the bottom with mat board cutouts on top, to stabilize the negative. The glass vs. non-glass carrier topic has been argued adinfrightum here and elsewhere.

BTW, what is the significance of the pix at the end of each of your posts? Signature?

[Robert Langham]

It's got a couple of glass negative carriers coming, one a 4X5 and one a 5X7. I've never printed well enough to tell much difference between glass and no-glass so maybe I am in for a surprise!

Pictures at end of posts...just to show images. The pixels...they are free.

85260 Still waiting on electrics/lenses/carriers. Maybe today is the day!

[ROL]

Pictures at end of posts...just to show images. The pixels...they are free.

Right on. (allowing that pixels maybe be free, but so are judgements :eek:)

[Keith Pitman]

I have two Zone VI Type II enlargers that I use regularily. One has a 5x7 head, the other an 8x10 head. Here's a few comments:

1. Based on my testing, both of the heads deliver the same contrast for a given setting. Theoretically, you should be able to use someone else's suggested contrast setting with your enlarger.

2. The enlargers are "slow printers" and larger prints will need long exposure times than other enlargers. Higher contrast settings require much longer exposures for a given size versus lower contrast settings.

3. While the heads have a stabilizer, prints at a given exposure will vary from one another noticeably. You should get a timer with a feedback system: RH Designs Zone VI, whatever.

4. The wheel that raises and lowers the head seemsto have some eccentricity. I realign the baseboard, negative and lens stages when I change print size. Easy to do.

5. Eric Biggerstaff showed me how to make glass negative carriers quickly and easily: Make a sandwich of a piece of clear single strength glass and a piece of thin while plexy. The glass and plexy should be the size of your Zone VI negative carriers. Hinge them together with gaffer tape. Then use black construction paper to make masks for each negative size. Voila, you've got a custom size negative carrier. I can post some pix if this't clear.

[Robert Hall]

Great tips folks. I have an 8x10 in the darkroom. It's been lovely to have and these tips will give me fodder to consider.

Thanks!

[Ron McElroy]

.....

5. Eric Biggerstaff showed me how to make glass negative carriers quickly and easily: Make a sandwich of a piece of clear single strength glass and a piece of thin while plexy. The glass and plexy should be the size of your Zone VI negative carriers. Hinge them together with gaffer tape. Then use black construction paper to make masks for each negative size. Voila, you've got a custom size negative carrier. I can post some pix if this't clear.

I'm interested in seeing some pictures of the negative carriers. I have one of the Z6 straight out carriers for 4x5, but I really don't like it.

[Robert Langham]

Fed-Ex shows the last boxes with lenses, timers, carriers out for delivery. Can't wait to plug this thing up and see if it works! Ron: Good idea on glass. I'll post carrier photos, but since I haven't used them they will probably be upside down!

85348

[Payral]

I am interested too by some pictures.

[Robert Langham]

Negative carriers. A little lighter built than I might like. I thing the 5X7 has a slight "bow" in it. Have to lay it on a piece of glass and see.

85361 85362 85363

Five negative carriers and five lens boards. There was a loose lens flange that fits a Schneider 240mm I bought from England that I have been going slightly nutty trying to find. Fits. There it is.

[Robert Langham]

Seem to be missing some cords. The ebay photos show the unit set up with a smaller 4X5 aristo VC head on it. I've up the Zone VI 6 X 9 head on it and seem to be missing wires.

Wonder what this is? Feels heavy, like ballast. The long cord coming out with standard wall plug is labeled "Lamp." The other cord shorter doesn't seem to match anything I have- it has an odd female round connection on it.

85364 85378

Any advice would be appreciated!

Update: Robbed cords and got it up and running, changing color and timing off the timer. Still worried I didn't work this thing above into the mix....

[Alan Curtis]

Robert
The plug labeled "Lamp" plugs into the compensating timer. Your picture looks like the power unit for the original cold light head. I have the type 1 which think will be similar. My power unit has three cords one is the lamp one is the main power, labeled preheat and the last is hard wired to the cold light head. The VC head has all of this built into the head.
Hope this helps some.

[Robert Langham]

I'm mostly concerned with running a power cord from the head directly into wall socket. I have the piece of gear that feels like heavy ballast...but I can't figure out where it goes. Looks to me like this needs to be between head and wall but the cord that fits the little round plug is missing.

[Robert Langham]

Mark Noble had several enlargers and various bits and pieces of darkroom electrics, like most of us. They pretty much boxed up anything that looked like it MIGHT have had anything to do with this enlarger and sent it along. In the ebay photo he has the OTHER head, a smaller Aristo Grid unit, on the enlarger.

[Robert Langham]

Top back of the enlarger lamphouse. One powercord goes to the timer from "Timer" socket. One goes directly to wall plug from "power" socket. Besides needed now power cords, any comments? I'm worried about the one going directly to the wall socket.

85383

[Peter Lewin]

Robert! Just took a quick walk to the darkroom to check my type ii 4x5 vc head. There are three wires coming out of the head. Two are power cords. The receptacles on the head are labelled "power" and "timer," so that is where they go. IIRC, the direct power cord is for the heater in the head, I.e. the stabilizer circuit, and I definitely have that plugged into a power outlet. The third connection on the head is a flat cable which connects to the variable control unit (the box with three dials: soft, hard, and overall intensity). You have larger format versions of the head, but with luck all of them follow the same design and work the same. If that is the case, you just have a few spare components from other zonevi enlargers (type I).

Just double checked your photo, exactly like my enlarger head!

[Alan Curtis]

Robert
Hating to add to your confusion but, I think you have the components to two types of heads. The heavy ballast thing is for the standard Cold light head it wasn't used with the VC head. The VC heads were plugged into the timer and the power was plugged into the power outlet. Some where on this forum the manual for this enlarger was posted. Peter is correct the top of the VC head has several connections, power, timer, VC control unit and a light sensor connection that goes to the timer.

[Robert Langham]

Thanks guys. I appreciate your time and attention to my confusion! Now if I can just find a long enough 7/64 hex wrench to level the head....(my lens board stage uses a sightly DIFFERENT size hex!) Just found fresh power cords for the unit at Walmart. Nikon 210 went right on the lens board. Nearly there. Except for actually learning to drive the thing.

If there is every anything I can help you with, please don't hesitate to ask.

85390

R III

[cowanw]

Here you are courtesy of Ben Dewell.
http://www.rangeoflightphotography.com/Technical%20Manuals/Z%20VI%20Enlarger%20Installation%20Manual.pdf

[Robert Langham]

I had the original for the hardware and leveling, but not the electrics, Thanks. Read and finish off installation tomorrow.

85400

R III

[Robert Langham]

First day printing. Figuring out where all the buttons and switches are.


85495 85496 85497

[cowanw]

Good for you!

[David Lobato]

Robert, if I remember right, the cord directly from head to to wall outlet powers a low current to the light tubes so they stay pre-warmed for instant on. It cures the time lag when fluorescent bulbs are turned on from a cold start.

[Peter Lewin]

Robert: If the three posted images are the results of your first day's printing with the ZoneVI enlarger, you definitely have found the right buttons and dials! They look great. I hope I speak for all of "us "when I say how nice it is to have another member in the ZoneVI enlarging community! (Because now we have one more person to exchange questions with!) I'm probably a very biased member of that community, since I took one of Picker's workshops back in the early 80s (or earlier?), and have a darkroom full of his equipment. Whether or not it was really better, he was a great salesman!

[Robert Langham]

Picker was one of a kind, that's for sure!

I do have a question: When changing contrast on the VC control, do you usually just add "hard" or take off "soft"....or move both controls at once? Going to print again tomorrow. Pretty interesting system.

85517 85518 85519 85520

[cowanw]

Are your doing something like Peter suggested in post 4 or split printing

[Keith Pitman]

I'm interested in seeing some pictures of the negative carriers. I have one of the Z6 straight out carriers for 4x5, but I really don't like it.


Here are three pictures. The first picture shows the carrier in the enlarger (not much to see!). The second picture shows the milk plexy on the top of the carrrier. The black stripe at the top is the tape hinge holding the plexy and the clear glass together. The third picture shows the inside of the carrier with the construction paper mask.

The only disadvantage to this carrier is that the glass creates a light leak around the edge, where the Zone VI carriers are very light-tight. I have some fabric taped around the edge of the carrier opening to contain the light leak.

I've come to like the glass carrier. If you keep it clean, you don't have dust issues and the negative does not pop. Also, when you set up to print the next negative, it is already in focus in the glass carrier.

[Robert Langham]

So far just varying enlarger head color for variable contrast. Not split printing. I did try burning down a sky with just full max soft color. Just through my second session.

[cowanw]

It looks like you change both and maintain time.
Maybe Peter can comment.

[Peter Lewin]

It looks like you change both and maintain time.
Half right! I change both hard and soft dials, pretty much like the chart I referenced back at the beginning of the thread. But changing the intensity of the two bulbs changes the total light output, so the times change. If you use the chart, you use the "multiplier" by dividing your time by the multiplier for the setting you are at, then multiplying by the factor shown for your new setting. I usually have an exposure time around 40 seconds, and if you do the math, a half grade change adjusts the time by about 2 seconds up,or down. That is such a small percentage of the total that I probably keep the time constant for small changes, but adjust if I'm making bigger changes. I'm probably not the most efficient printer, there is still a certain amount of trial & error, call it "tweaking" over the course of printing. Without any false modesty, our OP is a better printer than I am, so I will be interested in whatever approach he adopts as he gains experience.

[Alan Curtis]

Have any of you, that use the Zone VI enlargers changed the lamps? I have both the cold lite head and VC and I'm considering attempting to replace the VC lamps with the Aristo VC4500. Have any of you done this? Both of mine are the older Type 1 models.

[Robert Langham]

Peter: I've got a Zone VI compensating timer which seems to accomodate any changes in light color by changing the time. I actually set the timer against a gralab timer on the wall. 20 beeps equaled about one minute. Fred!

Printed a 10-pack of Oriental MG Warmtone today. Not as happy as I could have been with that paper. Didn't seem to have the depth of tone that the Ilford Multigrade did. I started with the same negative I printed on Ilford Multigrade last week. Just couldn't get it to snap. It did match up well with a couple of negs, but in general, didn't seem as good. It did tone well with just a little bit of selenium. I never use much but this picked up the color and had more warmth than Ilford MG WT ever does. Probably won't try it again. New 10 pack of paper from B&H. Harmon Warmtone Developer, 1:9.

85711 Still had this neg in enlarger so that's where I started. Oriental just didn't have the life.

Changed lenses and printed a roll film negative, (of White House Ruin), for the first time on this enlarger. Quite an equipment shift from 5X7 with a Nikon 210. I made a 19X19. Oriental is very slow compared to the Ilford. Just down two stops on a Nikon 80 the time was 24 minutes, (18 plus some burning.) Record. Never had an exposure that long. It's very sharp and clear. Impressive Hasselblad glass from 1976. Nice print but again think the Ilford would be better.

85710 120 FP4 from 1976. Impressive clarity. Probably better on Ilford Multigrade warmtone. Fun to see it big. If I print it again I am going 19 1/2 X 19 1/2.

85712 Satisfying print. First time to print it. Got a feeling the Ilford might be better. Canyon del Muerto last Fall. When I spot out all the stray white spots, especially around the stones and base of the tree....its going to really sing!

(All iphone grabs during the printing session.)

[Alan Curtis]

Robert
You can adjust the beeps on the compensating timer. There is a rheostat on top of the timer (just above the C in compensating) that you can adjust to a beep/second.

[Robert Langham]

Thanks! I'm going to look at that this morning. Any way to turn up the beeps? Already got it on Maximum on the dial...

[cowanw]

I thought the compensating timer measure quantity of light, not time and may beep faster or slower as per bulb brightness, as may be set on the min to max lamp knob?

[Alan Curtis]

Robert
If you didn't get an instruction sheet for the compensating timer with your enlarger I'll scan mine and email it to you.

[Robert Langham]

I had it up to max brightness. Recalibrated length of beep time using control on back. We'll see. Printing times long because of biggish prints and stopping down. 20X24 and F16. Oriental warmtone a bust for me. Awful base color. Can't imagine what they might look like in a mat.

85777 Matted a little print of this. I don't think the printing is quite finished yet. Maybe a little more in the shadow and a little more sky. Very contrasty negative. Going to have to be a VERY careful print. Plus there is a black fleck in the sky. Need to retouch that spot on the negative. Rarely do that. Might just be a close miss.

[Peter Lewin]

Following Robert's comment that the compensating enlarger timer eliminates the need to recalculate exposure times when changing the VC settings, and Alan's kind email of the instructions for the compensating enlarger timer, I found one on eBay. It just arrived, and seems to be working fine, based on a quick 5-minute "connect it, turn it on, and see what the enlarger does" test; I will actually try using it properly (i.e. print with it) in the next couple of days.

Unfortunately it did not include the foot switch, which would be my preferred way of working. The connector on the back looks like a female telephone plug receptor, for the telephone plugs that Zone VI used on their foot switches. Does anyone know if there are any foot switches on the market that come wired like the old Zone VI ones, with a phone plug (not a 1/4" jack which is very different)? Or any adaptors from the 1/4" jacks which are used on many foot switches to a telephone plug? (My google searches got me nowhere.) Bottom line, is there any way to buy or rig a foot switch to make it work?

[Robert Langham]

I see them go by on Ebay. I've got one with my rig. Tell me about how wonderful they are to use. I don't quite get them.

85886 Snake in a hat.

[Alan Curtis]

Peter
I my foot switch is made my Linemaster switch corp, they are still in business linemaster.com, mine is the Treadlite cat. No. T-51-D. You should be able to get it from them.

[Larry Kellogg]

Great thread. mind if I resurrect it? Nice prints, Robert! Are you still using the 5x7 Zone VI? I just bought a 5x7 Zone VI Type II, with a glass carrier for 5x7 and a metal carrier for 4x5. I ran some RC through it a couple of days ago and it seems like one side of my print is lighter than the other side. I need to experiment some more by flipping around a negative. Any thoughts?

I put in an order for a RH Designs f-stop timer and will let you know how that all works out. I'm hoping to be able to do some good work with this enlarger, at least, I hope so.

Larry

[Robert Langham]

I've used it some with more to come this fall. I can't print in the summer when the water temps get in the 90s. It's been a hard road with a plastic focusing knuckle breaking on the long hanging focus knob- so far impossible to replace. I've ordered several but none fit. Looks like Zone VI modified whatever they installed. I've got a motorized unit that I have to mount sitting waiting but haven't gotten to it yet. That long hanging focus know was a pretty neat deal.

I'm also beginning to suspect that one of the bulbs is weak or out. It just doesn't give me the contrast range I think I ought to expect. My negatives are pretty well-behaved, so I rarely need anything extreme, but when I do I don't get much movement toward MORE contrast.

I do have another head for it- an Aristo head with a completely different controller. The guy I got it from had that head mounted and maybe he had a good reason for it. This fall I am going back printing with that head instead.

Overall it's a great idea and pretty good overall design, but lousy build-out. The head must have six different sizes of allen screws. It's just cheap sheet metal, no machining at all. Compared to the build construction of an 1970s Omega its a little shocking. Fred was a great idea guy and a salesman but the finish quality of his enlarger is pretty awful.

Lot of negatives stacked up waiting the cooler water.

I've always printed 5X7 negatives pretty big- on 20X24 paper. I'm thinking about dropping the size a little. I printed some on 11X14 for a show at the first of the year and enjoyed them that size.

101091 Lightning man at Shiprock, 2013. That's from a proof with an iphone so I'm not concerned with the darkness at top or bottom.

It will be interesting to find out what your density differences are about. I had that on one print where I didn't expect it and just burned it in on an 11X14. Wasn't much- like an extra 10 seconds on a 30 second overall exposure, but it was unexpected. Negative didn't have any problems. I just noticed it on that one. It was the right side of the image, so thats the left side of the head.

101092 That's a copy of the print un-burned. Getting anything like that? You can see the right side needs some time. Wasn't hard to fix, but didn't seem right.

I don't need to fight with an enlarger, that's for sure!

[Alan Curtis]

One recommendation I make is get a laser alignment tool. I have one of the original Type 1 Zone VI enlargers and it goes out of alignment often. I check it before each printing session. With one of these tools it only takes a couple of minutes to adjust if necessary. Fred's method used a couple of pencils and a piece of glass shelf, I found this to be a real pain and not very accurate.

[Larry Kellogg]

Hello Robert,
I read another thread where I thought you had come up with a fix for the long focusing handle. Sorry to hear that you have not. Mine came with a long focus handle that had never been installed but I see after printing with it for two days that it is necessary. What does this plastic knuckle look like? How about getting one printed out using a 3D printer?

I tried to fix my unevenness problems by loosening the screws on the negative carrier and using the allen screw underneath to pick up the back of it. Before doing this, there was a huge gap at the back of the head where it sits on the film holder. Things are better now. I re-foamed the head but see that there is crumbly foam underneath the lens stage so I guess I have to replace that as well. What foam do I use for that?

Alan, thanks for the recommendation of a laser alignment tool. Which one is a good one to get? Fred's procedure involves using a glass shelf from a medicine cabinet and a bunch of pencils, LOL. I'll pay for a better way!

RIght now, it appears that my chassis lock knob is slipping from some reason. I think I just need to replace the washers that are on either end of the shaft to fix the problem, but I have to take the back of it apart to do that. Any thoughts?

I know the build quality is not the best, but how many choices are there for a 5x7 enlarger with a cold light head? I shoot 5x7 and love it. Right now, I have enlarged some to 11x14 but will go 20x24 for the right shot, at some point in the future, I suppose.

I need one more type II lens board so that I can mount a lens more conducive to medium format. I'm going to try to enlarge some MF stuff. I'm also interested in possibly getting a Aristo VCL4500 head as a backup for the Zone VI. Is that what you have, Robert?

[Robert Langham]

The light source is so oversized that you would think a degree or two of out-of-alignment lens wouldn't show, (except as soft focus).

I ordered several little knuckle joints. None fit. Could never get one that the overall length was correct while finding one that would fit on the shaft. Looks like the one they used they pulled the brass end pieces, (changing the overall length) and then redrilled through the plastic to pin it in place on the shaft. (every drilled hole different). I can't even find THAT one. They may have redrilled the interior diameter so it would fit the shaft. Nothing stock seems to fit. Crazy, so far.

[Keith Pitman]

Here's a APUG thread from a few years ago about foam seal replacement on Zone VI enlargers.

Look for a Parallel laser alignment tool. They are sold by Versalab.

The chassis height lock knob (left side) should just spin off. There should be a "soft" washer under the knob which should be easy to find at Home Depot or Ace.

Wish I could offer you a type II lensboard, but I'm hoarding all I've got.



Hello Robert,
I read another thread where I thought you had come up with a fix for the long focusing handle. Sorry to hear that you have not. Mine came with a long focus handle that had never been installed but I see after printing with it for two days that it is necessary. What does this plastic knuckle look like? How about getting one printed out using a 3D printer?

I tried to fix my unevenness problems by loosening the screws on the negative carrier and using the allen screw underneath to pick up the back of it. Before doing this, there was a huge gap at the back of the head where it sits on the film holder. Things are better now. I re-foamed the head but see that there is crumbly foam underneath the lens stage so I guess I have to replace that as well. What foam do I use for that?

Alan, thanks for the recommendation of a laser alignment tool. Which one is a good one to get? Fred's procedure involves using a glass shelf from a medicine cabinet and a bunch of pencils, LOL. I'll pay for a better way!

RIght now, it appears that my chassis lock knob is slipping from some reason. I think I just need to replace the washers that are on either end of the shaft to fix the problem, but I have to take the back of it apart to do that. Any thoughts?

I know the build quality is not the best, but how many choices are there for a 5x7 enlarger with a cold light head? I shoot 5x7 and love it. Right now, I have enlarged some to 11x14 but will go 20x24 for the right shot, at some point in the future, I suppose.

I need one more type II lens board so that I can mount a lens more conducive to medium format. I'm going to try to enlarge some MF stuff. I'm also interested in possibly getting a Aristo VCL4500 head as a backup for the Zone VI. Is that what you have, Robert?

[Keith Pitman]

Robert,

I opened up the housing on my gear drive and could just make out that the U-joint is marked "Huco". Then I found this on the web: http://www.huco.com/products.asp?p=true&cat=516

Hope it works this time. If it does, let us know the part number in case we might need one someday.

Good luck.



The light source is so oversized that you would think a degree or two of out-of-alignment lens wouldn't show, (except as soft focus).

I ordered several little knuckle joints. None fit. Could never get one that the overall length was correct while finding one that would fit on the shaft. Looks like the one they used they pulled the brass end pieces, (changing the overall length) and then redrilled through the plastic to pin it in place on the shaft. (every drilled hole different). I can't even find THAT one. They may have redrilled the interior diameter so it would fit the shaft. Nothing stock seems to fit. Crazy, so far.

[Robert Langham]

I HUCO-ed until I about ready to huco all over the darkroom sink. Spent about 200 bucks on various joints I modified. Finally gave it up. I don't think the part number exists, or if it does you have to have it modified to fit in some way that varies from enlarger to enlarger.

Somebody gave me a motorized focus control. I'm going to install it. I love Fred for his good ideas...mostly...but DAMN!

101144

Coupling size 13 looks the closest but will be too short overall and may NOT fit the main shafts which are 1/4 inch. And good luck finding a person to talk to or a part number. I think this must be some kind of engineering pornography site. Part number! Oh my. Or a price if you get one. Easier to get a complete engineering schematic for the MIR.

Thanks again Fred.

[Keith Pitman]

Robert,

Sorry you couldn't find the right Huco. I have two of these enlargers and adapted a Zone VI motorized focus control to one of them because you cannot buy a wand extension. It's the best option. Here's link to the installation: http://www.apug.org/forums/groups/zone-vi-vc-enlarger-users-d823-motorized-focusing-control-type-ii-enlarger.html

It's very easy. All you need is a 1/2 inch spacer.

[Larry Kellogg]

Hey Keith,
That link seems to be broken. Is the discussion still on APUG?

No worries about the Type II lensboard, but I'm going to have to either make one or pay someone to make one if I can't purchase one. It's a pretty simple part.

Larry

[Keith Pitman]

Either I forgot to paste it or something ate it:

http://www.apug.org/forums/forum43/66144-foam-zone-vi-type-2-enlarger.html

[Larry Kellogg]

Keith,
Sorry, I meant the link for installing the motorized focus, that's the link for the foam.

I installed the foam from McMaster-Carr for the light head, but there is still crumbly foam underneath the negative carrier that needs to be replaced. I don't know what kind of foam to use for that.

[Larry Kellogg]

Ok, a little more progress. Tonight, I removed the negative holder from the top of the head and went in search of some suitable foam. I wound up getting some Weather King foam that they use to seal around air conditioners. I got the 3/4" by 7/16" and the 1 1/2" by 7/16", if I recall correctly. It looks like the new foam is pretty light tight, so I think it's going to work.

I stopped by Calumet on 22nd St to ask about Type II lens boards, LOL. No go there. As far as I can tell, they got rid of everything. If someone knows better, shoot me a PM. I'm going to have one lens board made for a 80mm Componon I can try enlarging medium format negatives. Why not plastic?

I ordered the RH Designs Stop Clock Vario and am excited to try it out with the Zone VI. Should be fun. I guess I have to to spring for the Versalab Parallel device.

[Larry Kellogg]

One question on the focusing extension. Did it come with a knob? I don't have a knob for it. Am I supposed to mount the big wheel to it?

The extension looks straightforward to install, I'll give it a try.

Hey Robert, what Aristo head do you use? I'm going to look for a backup. I know I have to ask the stopclock people, Second Hand Darkroom, to make me a sensor for another head, if I switch.

I ordered the Versalab Parallel. I guess I'll be messing around with those Allen screws to get it aligned. Any hints?

[ROL]

I had an issue with the focus extension (knob included) when I actually began printing. I believe it dangled in the way or something. In any case I sent it back to Calumet for a refund, as I am able to print mural sizes without missing it much (...I have to use a step ladder anyway for other tasks when the head gets that high).

[Larry Kellogg]

Thanks, ROL, I'll get some sort of knob for the thing. Right now, I'm more worried about the clanking I hear when I tighten the chassis lock knob. I put a rubber washer under the lock knob and thought I had fixed the problem, but, no. I guess I'll have to figure out if something is breaking. Any thoughts?

[Keith Pitman]

Larry,


To attach a knob to the focus extension, you remove the big knurled focus knob on the right side of the enlarger. You then use the knob from the right side of the enlarger on the end of the focus extension rod.

To keep the focus extension rod out of your way, especially when dodging and burning, I have a bungee cord attached to it. The other end of the bungee is attached to the adjacent wall. The bungee pulls the focus extension rod out of the way, especially needed when you are dodging or burning. The bungee, being flexible, lets me pull the focus knob down to adjust focus. To attach the bungee cord, I drilled and tapped the end of the focus knob and then attached a swivel. I have a carabiner on the the end of the bungee so I can unclip it if I need to. Works great. The photo is a little dark (it is a darkroom after all!), but you should be able to get the idea.

[Larry Kellogg]

Thanks, Keith! That's great, I'm going to have to do the same thing for mine.

Ha, I just noticed you have the StopClock. I just wired up the StopClock Vario and ran off a few prints a couple of days ago. I think it's going to help a lot with my printing. How do you like it?

[Keith Pitman]

I tried a Zone VI timer and a Metrolux timer with the Zone VI enlarger before going with the Vario. The Vario is the way to go. Great tool.

[Larry Kellogg]

Goodness, help! I have been printing with the Vario tonight and things were going well. I ran a test strip and decided I needed Base+5. Base=8 secs. So, I exit test strip mode and hit five up arrows to get 19 seconds. The first print is fine. After that, I run into a four prints in a row that are way too light! I can't figure out what happened. I ran another test strip and it was ok. Again, I get weird results from printing. Is my sensor bad??

What gives. Going mad.

Larry

[Keith Pitman]

Sounds like the sensor in the timer isn't on. You have to turn the focus button on the timer on and off to make the sensor indicator light up. Once the sensor light comes on. The timer will compensate for light intensity differences between exposures.

[Larry Kellogg]

Hey Keith,
You know, I think you may be right. I may have turned off the Vario at one point and then turned it back on without hitting the focus button again to activate the sensor. Ugh! I had no idea that I was required to hit the focus button to enable the sensor. That's kind of annoying but I can deal with it.

[Payral]

Hey Keith,
Ugh! I had no idea that I was required to hit the focus button to enable the sensor.
May be you should try to read instructions. :) You can light it on using focus button on timer or one on Zone VI control box but to get Vario on you have to light once using timer as explained.

[Larry Kellogg]

Bonjour Payral! Well, in my defense, I did read the instructions, ;-) I just did not realize that it was required to hit the focus light in order for the Vario to see the light sensor. Now, I know. Lesson learned.

I ran into this problem because I was trying to program a simple dodge. I was printing a portrait and decided I wanted to dodge the face by 1/4 stop. So, my exposure was Base+5, as I mentioned. So, I tried to follow directions. I reduced the base exposure by 1/4 stop, the desired dodge time, and I hit compensate. The display read something like 3.03 seconds. I then tried program in the rest of the burn, but got confused and wound up turning off and on the StopClock in order to reset it. This caused all of my troubles with light prints.

Could somebody help me with this simple dodge? The first exposure is short, and is for the whole paper, and then the second exposure is for everything except the dodged area. So, I'm going to have to hold my dodge tool in the same place for about 16 seconds? Is this going to give me a seamless dodge?

How do I program this dodge?

[Robert Langham]

More on the story: I finally had to give up on the Zone VI Type II head- the field illumination was lousy AND the contrast varied across the illumination field. Bad tubes I guess. Had a soft corner I had assumed was a rain drop from Mont St. Michele....but it was the enlarger.

Switched to an Aristo 5X7 head and was just getting feel for it when I had to move my darkroom of 30 years. Borrowed some space, got a head from Modern Enlarger Lamps for my old Omega 5X7 enlarger and went back to using it and filters. Very controllable and that head is pretty good. But I'm in borrowed space and mounted the enlarger back on the baseboard instead of wall, so I can't make anything bigger than a 16X20.

Moved the Zone VI T2 out of storage. It's wall-mount only. Got that into the space and leveled up with the Aristo head on. The wand focus knob knuckle is busted, and trying find that part proved impossible so I decided to try and install a power focus....but the power focus unit must be for a Type I instead of a Type II like this one. Doesn't fit in any way shape or form. The Z VI will make a 20X24 with 210mm lens if i can get it focused.

Driving both with Heathkit PT-15s. Haven't printed with the Zone VI yet. ( I do have a Z VI timer for the Aristo head if it turns out I need it.)

Mostly been contacting 8X10s under the Omega.

Big show in Feb 2016 that is going to require 20X24s.

I'm back to trying to find the knuckle joint for the Zone VI focus knob. Equipment is a PITA.

[Larry Kellogg]

Hello Robert,

I feel for you with regards to the Zone VI enlarger. I switched to a Durst 138 out of frustration with the Zone VI. My focus wand also fell off because the Allen screws are so tiny that they won't hold onto the shaft no matter how much I tighten them.

I have half a mind to epoxy the wand onto the knuckle joint but I'm sure my knuckle joint will break after that. Equipment is definitely a PITA. I guess I'll hold onto the stupid thing as it is the only tabletop 5x7 enlarger that I know of in existence.

[Robert Langham]

Just found something close off the Huco site if I can just find a place to buy it. The little crushed one is a HUCO...but there isn't anything on their site that measures the same with a pair of calipers. Looking at a #13, also listed as a 611.13. Got an email to them. Tried to find it on Amazon but no luck. If the head prooves too wonky I may try putting drawing pad up on top. You just want an enlarger that is level, goes up and down and casts an even light of some useable color.

May have to move the Omega to wall mount to get a little more print size. I actually bought an original Omega wall mount off ebay the other day....but will have to mount to brick wall.

[Alan Curtis]

No matter what Fred P. told us the Zone VI enlarge is not the best. Over the years I suffered the same frustrations. I glued the focus shaft in place, just as Larry said Allen screws too small. I removed the focus knob and replaced it with a hex drive attachment shown in the photo you can add extension to any length, then unattach the snap in hex to make the exposure. If you would like me to show pictures of the dissembled fixture let me know. It is real simple.
I also realign the enlarger every time I use it, goes out of alignment just by looking at it.

131197

[Larry Kellogg]

Let me know if you find a replacement for the knuckle, I would like one that works.

Nice job on building that hex drive! Sure, I would love some pictures and a list of the parts required.

I had quite a struggle one night with that enlarger when I tried to figure out why it creaked so much when I tightened the lock knob. I took it all apart, no fun with that lead counterweight! Well, the back plate is held on by such short Allen screws that it was almost impossible to get it back together.

All the screws are of different types, the build quality leaves a lot to be desired. Yeah, alignment is always an issue. I'm not that fond of the negative holders, the Durst is amazing in comparison.

I guess Fred, RIP, did his best.

[Keith Pitman]

If you have a automated focus control for a Type I, you can easily make it work:

http://www.apug.org/forums/groups/zone-vi-vc-enlarger-users-d823-motorized-focusing-control-type-ii-enlarger.html

If you don't want the automated focus control, I'm interested.

You can find the plastic/aluminum couplings at McMaster, part #6183K33. Order a couple; I've broken more than one.

[Robert Langham]

Thanks for info. I probably should keep one of those on hand. The broken part of mine is the double u-joint inside the housing, not the wand-connection. Mcmaster seems to have something similar with a double U /adjustable center piece but it's 104.00 bucks.

I can't get that link to work and using search isn't finding it. Can you give me the full heading of the power-adjust thread at APUG? I'm a member over there but hardly ever go.

Thanks! If i can't get this focus thing installed I'll make a deal. Gotta have it or the wand. Too long a reach otherwise.

[Keith Pitman]

In APUG, go into "Groups" then look for the Zone VI enlarger group. You may have to join the group to see the topics.

[Alan Curtis]

This is how I built my focusing wand. First I removed the original focusing knob.
I replaced it with hex attachment to the 1/4"shaft.
131264
Next I used a 90 degree drive from millscraft
131265
Next a screw driver with removable hex drive heads.
131266
You can add any length of extension for what ever height you need.
131267
This makes focusing very easy and when you are ready for the exposure everything disconnects and is out of the way. This works on a type I Zone VI, I don't know if the type II has the same focusing shaft.

[Larry Kellogg]

Beautiful! I think it's the same for a Type II but I'll check.

[Keith Pitman]

That's very clever, Alan.



This is how I built my focusing wand. First I removed the original focusing knob.
I replaced it with hex attachment to the 1/4"shaft.
131264
Next I used a 90 degree drive from millscraft
131265
Next a screw driver with removable hex drive heads.
131266
You can add any length of extension for what ever height you need.
131267
This makes focusing very easy and when you are ready for the exposure everything disconnects and is out of the way. This works on a type I Zone VI, I don't know if the type II has the same focusing shaft.

[Paul Hoyt]

I remember when I bought my Zone VI Type 2 enlarger used, WOW I thought I had a real gem. I did make some very good prints, the exposures were a little long; changing contrast with the controller was a joy, instead of filters. Then one day I saw an add for a Ferrante Cold Light that would fit my Beseler; a "give-a-way" on Craigslist. Since my first print with the Ferrante system, I have not fired-up the Zone VI. It sits in my darkroom and I just have no interest in fussing with the long exposures. Fred knew how to sell in a catalogue, his words and pictures would make photographers drool, and he did provide items in the beginning that were not easily available, but his "own" products were more hype than reality. For me, printing with a variable contrast light source is the only way I hope print while I can, and the field is getting awfully narrow. It's the only reason I still have the Zone VI enlarger. If something happens to my Ferrante head, it is back to long exposures and constant refocusing as the enlarger head slips or settles.

[Robert Langham]

I THINK I found the HUCO knuckle joint I needed and a couple places to order it....takes six weeks to deliver from one place, 10-20 days from another. Unbelievable in Amazon.com/overnight/America. HUCO had five places right in town where I could get it since they only sell to distributors but the three I called couldn't find the part number and promised to call back. They haven't.

Got an Aristo unit sitting on mine. Might get a chance to print something with it today. It's almost level. This is like a test!

131556

Deardorff looking at little rockwork in Climber's Cave, Shiprock, NM.

[Robert Langham]

Got a knuckle joint in hand for about 40 bucks delivered. (second try) It doesn't fit. Has to go to machinist to have the ends bored out and the overall length reduced a few mms. Slogging on in this saga.

[Robert Langham]

Up to 60 bucks, and the machinist didn't grind the ends down to make it any shorter. It's in a little bit on of a bind inside. Probably going to have to pull the link and have it ground down to reduce over-all-length of the universal joint. It works.....but feels too tight. Those plastic U-joints aren't going to like that and neither will the long rod connector.

As a kid in 1971 I tore down and rebuilt an MGB convertible. An ENGLISH car, (parts), kit...as they say. It was less left-handed, counter-intuitive and easier to find the right parts for than this thing.

132309

[Larry Kellogg]

Well, Robert, you're making me feel good about spending the money for a Durst 138.

[Luis-F-S]

Beat you to it, did that 23 years ago! Had both a Type 1 & Type 2, hated them both. L

[neil poulsen]

My thought on this was to use an Omega D extension and try to find an adapter to mate the two diameters. But, I ended up jumping on a Zone VI Type II extension listed on EBay by Quality Camera.


This is how I built my focusing wand. First I removed the original focusing knob.
I replaced it with hex attachment to the 1/4"shaft.
131264
Next I used a 90 degree drive from millscraft
131265
Next a screw driver with removable hex drive heads.
131266
You can add any length of extension for what ever height you need.
131267
This makes focusing very easy and when you are ready for the exposure everything disconnects and is out of the way. This works on a type I Zone VI, I don't know if the type II has the same focusing shaft.

[neil poulsen]

Fred et.al. designed the Type 1; Calumet designed the Type II to correct some deficiencies of the Type I after they purchased Zone VI.

One of the Type I deficiencies was that it didn't cover 5x7, even though Fred Picker sold it as such. Calumet's Zone VI lead told me that it was originally designed as a 4x5 enlarger with an oversized head.

My problem with the Type I, was that it did not have consistent contrast print to print, or especially, session to session. I suppose that the compensating timer would correct for overall exposure, but it couldn't correct for the fact that the green and blue lights could vary independently from each other. Calumet tried to fix this by installing a compensating circuit for each of the two colors. I could have resorted to split printing to solve this problem and exposed the two colors individually. But, I don't really care for split printing.

For me, long exposures was not a problem for the Type I. The control box was big and heavy, I believe because they contained heavy duty power sources. I had no problem enlarging 35mm negatives with my Type I. Calumet put much lighter power sources in the Type II head itself, and I believe this restricted the intensity of light that could be produced.

Anyway, I now use my Zone VI Type II with a Beseler 45s head using an adapter produced by Zone VI. The 45s head and the Zone VI chassis make a nice combination for what I need.


I remember when I bought my Zone VI Type 2 enlarger used, WOW I thought I had a real gem. I did make some very good prints, the exposures were a little long; changing contrast with the controller was a joy, instead of filters. Then one day I saw an add for a Ferrante Cold Light that would fit my Beseler; a "give-a-way" on Craigslist. Since my first print with the Ferrante system, I have not fired-up the Zone VI. It sits in my darkroom and I just have no interest in fussing with the long exposures. Fred knew how to sell in a catalogue, his words and pictures would make photographers drool, and he did provide items in the beginning that were not easily available, but his "own" products were more hype than reality. For me, printing with a variable contrast light source is the only way I hope print while I can, and the field is getting awfully narrow. It's the only reason I still have the Zone VI enlarger. If something happens to my Ferrante head, it is back to long exposures and constant refocusing as the enlarger head slips or settles.