Using a Zone VI enlarger for 5x7, or other alternatives?

[badbluesman]

I am looking for an enlarger to print my extensive library of 5x7 B&W negatives. Does the Zone VI enlarger work well for 5x7? I have always wondered if they built it for 5x7 just so that the illumination would be very even for 4x5 negatives. I then wonder if the illumination would be even enough for 5x7. Does anyone have experience printing 5x7 with this enlarger?

Does anyone recommend any other 5x7 enlarger that I might actually be able to find?


I previously used a Durst 8x10 with an Arista head and a Metrolux stabilized timer. That was a perfect rig, but the majority in the partnership that owned the enlarger decided to sell it to another member.

[Oren Grad]

My recollection is that the Zone VI version I light source is undersized for 5x7, but that was fixed in version II. Hopefully someone with more direct knowledge can weigh in.

[neil poulsen]

My recollection is that the Zone VI version I light source is undersized for 5x7, but that was fixed in version II. Hopefully someone with more direct knowledge can weigh in.

This is exactly right. The story as I heard it from the Calumet Project Manager for the Zone VI product line, was that the Type I was originally designed as an oversized 4x5. Then someone observed that it "could" be sold as a 5x7. So they did.

After they purchased Zone VI, Calumet designed the Type II Zone VI 5x7 enlarger that was large enough to actually print 5x7 negatives. When they introduced that enlarger, they also had designed a retro-head for the Type I that had a larger light source for 5x7 negatives. In the years since, I've seen only one for sale on EBay.

I have a Type II currently. Zone VI made an adapter for Beseler heads, as did Calumet of the Type II. I have the Calumet version to adapt a 45s Beseler color head to my Zone VI Type II. Works great for 4x5.

If you can find a Type II with a 5x7 head that works well, you would have a nice system. You could probably enlarge 5x7 negatives using the Type II 8x10 conversion kit. But, I think that you would be stuck using a 240mm lens, so enlargement size might be limited. You would also have to customize a 5x7 negative carrier. But, this would be relatively easy. There are also 3rd party for the Type II. If you found a Type II with a non-functional, Type II light source, one might be able to customize it with some sort of alternative light source.

[bmikiten]

Agreed. You have to be sure you get the right one for both sizing and coverage.

Brian

[neil poulsen]

Agreed. You have to be sure you get the right one for both sizing and coverage.

Brian

The Type I has a single column that connects to the lens stage. The Type II has two columns. The I and II have different size lens stages, and each is the same size as the two corresponding heads.

[Willie]

Beseler made a 5x7 enlarger. Uses the 45 motorized chassis and has a different head than the 45 models. A Cold light head.
Works well.

[John Layton]

Needs to be a series 2 (with the dual focusing rails) in order to work well with 5x7. The dimensions of the series one negative stage are just a wee bit small to be truly effective with 5x7.

I love my Zone VI series 2 enlarger...which I use with formats ranging from 6x7 (cm), 4x5, and 5x7 - printing in sizes ranging from 11x14 to 30x40 inches, with that very large size made possible with a 120mm W.A. Rodagon (for 4x5) and a 150mm G-Claron (for 5x7). When using those two wide angle lenses, I truly appreciate that both negative stage and light source are significantly "oversized" to accommodate the broader light path behind the negative.

My current light source is a 5x7 Heiland VC LED - with which I'd replaced the Zone VI VC florescent some time ago. The Heiland offers me absolute control and consistency...and is very intuitive to use, for both "split grade" and blue/green mixing (in very precise ratios) modes. I really cannot find fault with this light source, but do know that, even when powered down to its minimum output, it can still seem a bit bright for a very sensitive paper such as Ilford Multigrade "Classic," at least when printing in smaller sizes with this paper with negatives that may be on the "thin" (less exposed) side. But again, other's mileage may vary on this.

At any rate...I really cannot fault this setup as it continues to serve me exceptionally well - but other's mileage may vary. I must say that I got very lucky in finding this particular enlarger - as it was (and still is) in basically "showroom" condition. In other words, while these enlargers are very precise instruments quite capable of great consistency for many years when properly adjusted...they are not quite as rugged and "abuse-proof" as are the equivalent offerings from Durst, for example. I would not likely use a Zone VI enlarger in a large-volume, multiple user environment - where a Durst would be more appropriate.

In other words, if you want a Zone VI enlarger...then do your best to find one in tip-top condition! Good luck!

Edit: Keep in mind that a Zone VI enlarger features a few foam light-seals...which tend to get a bit crumbly as they age, regardless of the apparent condition of the enlarger itself. In my case, I found it very simple to replace these aged seals with some thin, black, closed-cell weatherstripping (self-adhesive) from our local hardware outlet.

[Duolab123]

Needs to be a series 2 (with the dual focusing rails) in order to work well with 5x7. The dimensions of the series one negative stage are just a wee bit small to be truly effective with 5x7.

I love my Zone VI series 2 enlarger...which I use with formats ranging from 6x7 (cm), 4x5, and 5x7 - printing in sizes ranging from 11x14 to 30x40 inches, with that very large size made possible with a 120mm W.A. Rodagon (for 4x5) and a 150mm G-Claron (for 5x7). When using those two wide angle lenses, I truly appreciate that both negative stage and light source are significantly "oversized" to accommodate the broader light path behind the negative.

My current light source is a 5x7 Heiland VC LED - with which I'd replaced the Zone VI VC florescent some time ago. The Heiland offers me absolute control and consistency...and is very intuitive to use, for both "split grade" and blue/green mixing (in very precise ratios) modes. I really cannot find fault with this light source, but do know that, even when powered down to its minimum output, it can still seem a bit bright for a very sensitive paper such as Ilford Multigrade "Classic," at least when printing in smaller sizes with this paper with negatives that may be on the "thin" (less exposed) side. But again, other's mileage may vary on this.

At any rate...I really cannot fault this setup as it continues to serve me exceptionally well - but other's mileage may vary. I must say that I got very lucky in finding this particular enlarger - as it was (and still is) in basically "showroom" condition. In other words, while these enlargers are very precise instruments quite capable of great consistency for many years when properly adjusted...they are not quite as rugged and "abuse-proof" as are the equivalent offerings from Durst, for example. I would not likely use a Zone VI enlarger in a large-volume, multiple user environment - where a Durst would be more appropriate.

In other words, if you want a Zone VI enlarger...then do your best to find one in tip-top condition! Good luck!

Edit: Keep in mind that a Zone VI enlarger features a few foam light-seals...which tend to get a bit crumbly as they age, regardless of the apparent condition of the enlarger itself. In my case, I found it very simple to replace these aged seals with some thin, black, closed-cell weatherstripping (self-adhesive) from our local hardware outlet.

I will echo what John is saying here. The v2 Zone VI enlarger is a lovely machine. I too was very fortunate to find both a 5x7 and 8x10 model that was purchased and never really used. Mine came with a Metrolux II timer that takes care of the dual tube cold light. I agree that, even though I've never had a problem, I've never figured out how the timer knows which tube to adjust. The LED source is very nice, out of my price range.
The real weak point on these is the nylon tracks that are part of the elevation system. Mine are still perfect but I can see how these could be stripped.
The workmanship is outstanding, carriers work nice. I had to have lens boards made, original ones are very rare.

[neil poulsen]

. . . I've never figured out how the timer knows which tube to adjust. The LED source is very nice, out of my price range.

I believe that the blue and the green have internal circuitry that controls each color independently. So, they each have their own sensor. Connecting a compensating timer links the timer to a third sensor that helps compensate for temperature changes, electrical fluctuations, etc.

[Duolab123]

I believe that the blue and the green have internal circuitry that controls each color independently. So, they each have their own sensor. Connecting a compensating timer links the timer to a third sensor that helps compensate for temperature changes, electrical fluctuations, etc.

The compensating timer connects to a photocell that compensates for light output. The ratio of the two tubes is controlled by the Zone VI box. I absolutely love these enlargers, split printing is easy. You need a compensating timer either the original Zone VI or a Metrolux II etc.

The only reason that I could have for switching to a LED light source would be to print color.

I got these enlargers from a guy who wanted them gone at the bottom of the market and I had to drive a 4 hour round trip, fun! (Got 3 Rodagons too.)