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  1. #11

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    I think you need to get your lens farther from the negative. Have you tried mounting your 80mm lens on the 135 cone? That may work or it could be too far away. You may need a cone about half as deep. I can get everything from 35mm to 4X5 out of my fixed condenser D-2, but it takes a bit of imagination. On a flat board, I have to use a 75mm lens for 35mm negs. You could probable come close to getting an 8X8 print using your 135mm lens. Maybe 10X10 if the column is high enough. I'll put a square neg in mine tomorrow and see what I get.

  2. #12

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    To clarify, I do not have the variable condenser head, but the older single condenser. I have been doing 2X2 with the long lens, and it works, but it is limiting ,not just in how big you can go, but when you do crank it on up, the easel ends up way up to, and sometimes almost hanging over the edge of the baseboard.
    I tried the 80 on the cone that that the 135 is on, and got huge fall off, so i tried a flat board, actually not completely flat but with a cone of about 1/4 inch, with the same results. So, my conclusion is that contrary to what some have written, you really do need the correct condenser. Bummer since they don't seem to easy to find, and are be pretty spendy when you do.
    A better solution in my case may be to just build a table for the enlarger with a drop bed, so I can get more height, and better centering of the easel, and just use the 135 with the condensers that I've got.
    My suspicion is that people did exactly that sort of thing when these were new, as you see a lot of these enlargers with the same focal length lens/condenser combo. I just wish the guy I got mine from was still around to ask how he did it.

  3. #13
    Dan Henderson's Avatar
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    Bruce: I bought what ended up being a good set of the medium sized condensers for my old D2, and a really good Schneider-Companon 80 mm lens so that I could 2 1/4" negs. I bought both from Ebay; I don't recall what I paid for the condensers, but the lens was ridiculously cheap. Because of ceiling height I could not use the 6" condensers and long lens. Yes, I had to spend some money, but the prints that come from it are worth the cost. If you don't trust your luck on Ebay, Harry's Classic Enlargers sells condenser sets for I believe $220 a set. To my mind, its money well spent to get a D2 set up the right way.


    web site: Dan Henderson, Photographer.com

    blog: https://danhendersonphotographer.wordpress.com/

    I am not anti-digital. I am pro-film.

  4. #14

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    Here's another link that explains the Omega line of enlargers.

    http://www.khbphotografix.com/omega/

    I have a DII and did use a 75mm with the 6 1/2 condenser set. I really did not have that much trouble. Try mounting your 80mm on a flat board, not the small cone that you have now. My 75mm and now my 80mm are mounted on the flat board. Even my 90mm is mounted on a flat board. KHB Photographix does not even list that little cone as an accessory for the DII-D2's. The ligh- fall off may be from the cone, not from the condenser.

    I looked for a set a medium format condensers on Ebay. I eventually got a variable condenser kit for about $50. I feel Harry's prices are way, way out of line. The old DII's had a 4 condenser set. Omega eventually replaced the 4 1/2" and 5" with the 4 11/16" one. Check out the link I provided, a couple of years ago when I was looking they still had variable condenser kits.

    Brian

  5. #15

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    I did some fast checking on the KHB site, the 1 1/2" cone was made for the D3 enlarger. Mount your lens on a flat board.

    Brian

  6. #16
    mmcclellan's Avatar
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    I don't want to risk raising a hot discussion here, but an easy way to avoid all of this is just to get rid of the condensers entirely and go with a cold light. I bought a wonderful old D2 on eBay for about $150, got a gorgeous cold light for another $100, and could not possibly be happier with what I have. No need to change anything for different formats except lenses and you have the advantages of cold light printing, stable light output, little or no color change, etc.
    Michael McClellan
    Documentary Photographer
    Ann Arbor, Michigan
    http://www.MichaelMcClellan.com

  7. #17

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    I tried a flat board, no go. A cold light may be the best solution. I used one for years on my beselar 23cc and really liked it. Magic it was not, but I did like the prints I made with it.
    I have an inquiry into aristo right now to see if I can use the same set up, but change the lamp to one that will cover 4X5. I may end up just adapting the cold light I've got, use the condesers for 4X5.
    I also noticed in my playing, that if I raise the condenser off the carrier I can get even coverage. Maybe I need to take a light meter and measure how high I need to be to get even coverage, and then make a collar that length.
    Fun stuff.

  8. #18

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    Solution found. I made a collar out of cardboard that goes around the condenser housing. It is spaced to make the condenser assembly ride 1.25 inches higher than it normally does. With my spotmeter, I measure less than 1/4 stop falloff at the edges. That may be optimistic, my meter is less than ideal for this sort of thing. The only downside I can see is that the whole image is about 2 stops less. I can live with that. Now I will poke around and find a piece of metal to make a collar.
    Any reason this shouldn't work?

  9. #19

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    Quote Originally Posted by Bruce Appel
    The only downside I can see is that the whole image is about 2 stops less. I can live with that. Any reason this shouldn't work?
    You could replace the 75W PH-211 lamp with a 150W PH-212, but that will generate enough heat to require using heat absorbing glass. Freestyle Photo is one source for these lamps.

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