Any Aristo W54 Cold Head Tips?

[m00dawg]

I've been looking at various solutions to convert my Omega D2 to a diffusion enlarger. My long game is still to get or build an LED light source, but to get me by, I found an Aristo D2 in good shape. I did notice, however, it uses a W54 lamp which seems to predate the V52? Sounds like if I want to lower my contrast down to what I'm used to on, say, my Beseler 67, that I will need to use a yellow filter of some kind? I wasn't sure where to put this filter so that I could also use under lens mount filters (kinda bummed I lost my above lens filter tray but ah well - an above negative tray is something I may also try and design and 3D print).

I've contacted Louise over at light-sources.com to have a V52 made. They cost $170 each and 5-7 weeks to make. Cost isn't actually that bad and since it's new it should like quite some time. But for those 5-7 weeks I'm trying to figure out my options with this W54 lamp. Seems like using it will help me get used to a cold light, but the filters are all going to be off still which makes me wonder if I should just toss my condensers back in and use those for a while. They work well enough - it just makes for contrasty prints and more having to wrangle dust and imperfections. I really liked the look of my Beseler 67 but to print in 4x5, the D2 is all I have available right now.

[AJ Edmondson]

I used one several years ago and never noticed much difference using a yellow filter with VC filters vs same filters minus the yellow but that just be my memory bank crapping out on me. When compared with the hassle of installing, cleaning condensers I wouldn't hesitate to try the cold light with a mid-range filter and without any filter (preferably with a negative you have printed before). As far as the filter, the Rosco gels are cheap enough to get one and cut it to fit over the diffusion plate and under the frame.

Joel

[m00dawg]

I used one several years ago and never noticed much difference using a yellow filter with VC filters vs same filters minus the yellow but that just be my memory bank crapping out on me. When compared with the hassle of installing, cleaning condensers I wouldn't hesitate to try the cold light with a mid-range filter and without any filter (preferably with a negative you have printed before). As far as the filter, the Rosco gels are cheap enough to get one and cut it to fit over the diffusion plate and under the frame.

Joel

Thanks Joel! Yeah I think I'm going to give it a go as-is just to see. I do have some shots in mind I could try and reprint and see what results I get. I I did rock a yellow filter, I was wondering about where to put it. Can I put it above the diffuser or perhaps somehow below it (if I can cut a good circle) where it sets on the lip of the cylinder, or would I just set it right on top of the negative carrier (I was worried that'd scratch it over time)?

[Robbie Bedell]

I now have is the newer Aristo lamp...Got it from Louise a number of years ago. She is a joy to work with. The new lamp gives a very turquoise light. The older lamp is a much more whitish light and that one needs the yellow filter... Here is the thing. The newer lamp is a bit difficult to use (for me) because it is SOOO turquoise. Once you start putting your multicontrast filters in and stopping down for printing it can seem pretty dark. I say 'seem' because it is not that it is so dark but that it is a strange turquoise light. I really have to let my eyes get used to using it. In a way I think I may have preferred the older lamp with the yellow filter because it actually seemed like a traditional enlarging lamp, but the jury is still out on that. (It was dark also!) I would try putting my older white lamp back in, for comparison, but I stupidly broke it during the replacement. I am happy enough with the new one and I will say the new lamp does make beautiful prints! Hope this helps! BTW You need to get the appropriate size yellow gel and slip it directly under the lamp. Robbie

www.robbiebedell.photoshelter.com

[Neal Chaves]

I have used cold light heads for some time. Most of the daylight type need about 30Y filtration for normal contrast on VC papers. The most important thing I can share with you involves how to make a test strip. Bulbs of all kinds take time to reach full output and cold light bulbs are especially slow. To make an accurate test strip, use a continuous burn of the tube, not short bursts. Set the timer with metronome to 30 seconds. Cover the test paper completely with a card then move out one inch. Start the timer and count four beeps. Them move the card every three beeps. You test strip will then record a more accurate representation of a continuous burn.

[Doremus Scudder]

I've used both versions of the Aristo cold-light heads and had no real trouble getting the contrast range I needed. Responses are slightly different for each lamp, but filters work fine for both. FWIW, I preferred the whiter grid lamp as well.

As for shelling out $170 for a new grid lamp... I'd just cruise eBay till I found a good used Chromega dichroic head and power source. Filters are built in, diffusion is exactly like a cold light head. I've got two, one 4x5 and one 5x7 that I Frankenstein mounted on my Beseler 45Ms; I like them a lot. The dichro filters give me contrast from about grade 1 through 4+. For the times I need maximum (or minimum) contrast, I switch to white light and use #47 and #58 filters below the lens (respectively). The #47 gets me roughly a grade more contrast the max. magenta on the dichro head; rarely need that much, though.

The one problem with cold-light sources in general is that the illumination intensity tends to drift with temperature, even with the pre-heaters. I solved the problem by simply leaving the light on the entire printing session for a while (shortened grid life a bit that way, though). Eventually I switched to a Zone VI stabilizer. Dichro heads with halogen bulbs don't have this problem.

Best,

Doremus

[Robbie Bedell]

Doremus is so correct about the stabilizer! It is a necessity for precise cold light printing...

[Luis-F-S]

I used cold light heads until I bought a dichroic head with my 8x10 DeVere. I still have the 5x7 cold light head for my Durst enlarger. Just use a Metrolux timer with a probe in the head and it will print great. Eric Woodbury had some for sale sometime back. I'll bet if you pm him, he can help you out. L

https://www.largeformatphotography.i...arkroom-timers

[AJ Edmondson]

No problem putting the gel over the diffuser. It doesn't get scratched that way and there isn't enough heat to be problematical. I say this but then again I never left one for prolonged on-times. I also had a voltmeter mounted in the head and always kept it on 100 volts because the light output was too fast for me (this was in an Aristo 810 on an Elwood). Have fun!

Joel

[Bill Burk]

With my DII and Aristo I simply toss gelatin filters over the lens in the lens cone. Last night I just needed the green filter. Before that I just needed the blue filter and ND 0.6

I've been deliberately working with worst-case negatives.

Don't think the same trick is going to work for split grade printing or for more normal negatives.

Anyway if you have a few gelatin filters they can be used for enlarging by dropping them on top of the lens.