Sorry hka I have neither a digital camera nor the skills to operate a very basic scanner that my son left behind but here's a description of the mystery cover.
Imagine your diffused cover but with a slightly darker but still smooth surface on top. Then instead of a rough surface underneath which is like many small pyramids, it has a smooth surface and over that lower surface is a white plastic cover which ressembles a round tent like the kind you get in a circus. However the top of the "tent" has been cut off to make a round hole which is about 17mm across.
So when this cover is on the probe the light from the neg strikes the smooth top of the cover but can only penetrate to the measuring cell through the 17mm hole.It cannot penetrate the white plastic which is opaque
If you took off the white translucent diffused cover on top then you would have a white opaque plastic bowl shape with a hole in the bottom. It is a bowl with a hole in the bottome when looked at from the top and a circus tent with a hole in the top when you turn the cover upside down
This is the best I can manage as a description. This 17mm hole in the plastic bowl sits directly onto the measuring cell.
I hope that helps you get a picture of it
Mike I replied to this post with my assumptions as to what exactly you do wheh you do it as in the quote.
Originally Posted by Mike Wilde
I am still not clear on how you use the diffusion material( I think you are talking about the 7x7 cm sheet which is supplied.
Could you describe the exact sequence used in the quite above? Also any idea as to what my second cover is for. See the posts between me and hka.
Indded does anyone know?
My analyser is OEM by Lici, and also branded as a Lici so I don't know if the onsellers like Jobo for a time use the same catalog #'s.
I actually bought it off ebay new from a shop in Portugal, and found the English manual on Nick Zentena's web site before he left Toronto and moved to Italy. I don't know if he still has it up.
I have scans of the pages as pdf's somewhere. It is not the easiest read in the world. Reading it more than once, with no distractions interrupting your thought process is a good way to start to wrap your head arournd what this little gem can do.
The clear clip on 'thing' for the probe I have with the circle in, which sits about an inch above the cell openning on the sensor I think is used to cast a shadow on the cell area, to aid you to correctly tilt the sensor to overcome what I think others call cosine error.
My same clear clip on thing has a diffusive lower insert that I think is used to hold down the white or grey part of the test print against the sesnor openning when you slip it under it when the machine is in densitimeter/Cr/Ar mode.
I have the grey dics with the small openning that can also clip in to my clear probe cover to make it read as a smaller aperture spot meter. I find that the machine complains about there not being enough light when I try to use this, and with only 8 channels, rather than 100, I want to use them for more flexible things too.
If I have a spot in the frame to set colour on that is too small, I move the head of the enalrger up, balance the colour that is now big enough to read and fill the cell, and then slide the head down and set exposure by some other method.
The clip on cover that is diffused, with the little pyramid like things underneath I rarely use. I don't find this 'semi integrated' metering meets my style very often.
Some negs I want to print and not spend all night hunting down the right colour balance do not have a good 'grey equal' or 'caucasian skin equal' that my 8 channels of my 3000 in one way or other are mostly programmed for, to find a good starting filtration to analyse.
Often this happens on an old film I want to print only one frame from from.
I will usually first look to see if there are other shots from the same lighting situation may give a skin or grey that are on other frames of the same film.
If not, than I look for a white or black. These are most usually just different intensities of grey, and can be used to set close to right filtration when you don't know where to start for colour balancing.
Note here I did not say exposure time. Once the starting filtering is guessed from the above, I will usually then spot measure to see what the different times suggested are. I adjust aperture to be somewhere between 5 and 15 seconds and then may take the average of a few readings that I expect to print as a mid tone, which this great little machine will effortlessly do, to set a starting averaged exposure time.
The second way to get a starting filtration is to know that if you are outside, and have a shot of the ground, sky and all, the subject when full diffused will usually integrate to a neutral grey. I said usually - a big red flower etc half filling the scene will screw this up.
So in this case I hold the 7x7cm diffuser under the lens, and flip the machine on a channel I am set for NG on, and dial in the right starting filtration to extinguish all the LED's. I then either single spot filter or average to get the undiffused image exposure time.
I do not have a channel dedicated to getting the right exposure with the diffuser held in place, but I guess it could be done.
I have my 8 channels set mostly from the Lici manual's suggestions.
1-3 are ng, cool caucasian skin, and warm caucasian skin, using the clear probe cover with slight diffusuion clip under that cover.
4-6 are for the semi diffused cover fro the probe and mostly these don't get used.
7 is a channel I use for custom to the session setting, like a good green grass, or blue sky, when other things are not handy to meter. I should likely keep a written record of the first time aim points for these things, but I really only print about 5-6 times a year in colour, so it would likley not be so handy.
Channel 8 I dedicate to b&w mode. I set and leave the master at 50 in B&W mode, and then meter for the slightest hint of grey in the print, and channel reprogram 8 with no filters dialled in to match the test print exposure time when I find it on the first print from a new to me pack of paper. I find this way I don't inadvertently scew up the setting on colour channels. (Ask me how this became a habit!)
Once the channel sensitivity setting is found, I write the number, usually some where between 620 and 530 on the label of the paper box or envelope. I almost always start with a standard 1:2 dektol or agfa 100 paper developer, and with this number, and a use of the densititometer function to make a first guess on the needed contrast, I get quite a respectable working print the first time when I start with the analyser suggested exposure time.