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  1. #11
    artonpaper's Avatar
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    I worked my way through grad school (Pre digital) printing for a high volume custom lab in NYC. I had five enlargers in my darkroom and depending on work load I would set up at least three, and often all five. I was able to print scores and even hundreds of hand made prints a day. They used to say the expected rate for a good technician was ten negs an hour. Multiple enlargers and a good printing strategy will save lots of time. And, believe me, these were quality prints, with dodging and burning. (I didn't have to do the washing and drying.)

  2. #12
    Bob Carnie's Avatar
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    Sound like my history of working in Labs, the key is planning your day, and putting similar negs /sizes on specific enlargers and this training will negate the note taking , as you get really good at looking at the easel , watching the print emerge and knowing when you have made a good print.

    Quote Originally Posted by artonpaper View Post
    I worked my way through grad school (Pre digital) printing for a high volume custom lab in NYC. I had five enlargers in my darkroom and depending on work load I would set up at least three, and often all five. I was able to print scores and even hundreds of hand made prints a day. They used to say the expected rate for a good technician was ten negs an hour. Multiple enlargers and a good printing strategy will save lots of time. And, believe me, these were quality prints, with dodging and burning. (I didn't have to do the washing and drying.)

  3. #13
    matti's Avatar
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    Thank you all. I can really see the time savings now. And as time is my limit I will try to set up all three. Maybe one for medium format, one for 4x5 and one for contacts. No lens switching and working on two negs at a time sounds like I might get more fun.
    /matti

  4. #14
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    Quote Originally Posted by matti View Post
    But for now I am contemplating to actually keep all my three Durst enlargers there. One 6x6, one 4x5 and one 5x7. All diffusion light source with color heads. Would there be any real benefit? Or should I at least get rid of the 6x6?

    /matti
    You may consider changing the 5 X 4 for a de Vere. They are the Rolls-Royce of enlargers.

    “The contemplation of things as they are, without error or confusion, without substitution or imposture, is in itself a nobler thing than a whole harvest of invention”

    Francis Bacon

  5. #15
    matti's Avatar
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    Quote Originally Posted by cliveh View Post
    You may consider changing the 5 X 4 for a de Vere. They are the Rolls-Royce of enlargers.
    Then I'll have four!

  6. #16
    eddie's Avatar
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    Quote Originally Posted by cliveh View Post
    You may consider changing the 5 X 4 for a de Vere. They are the Rolls-Royce of enlargers.
    Dursts aren't Yugos. They're fine machines.

  7. #17
    Jerevan's Avatar
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    Quote Originally Posted by eddie View Post
    Dursts aren't Yugos. They're fine machines.
    When you get them aligned they are fine enough, but otherwise... hell on wheels to continue the car analogue.
    “Do your work, then step back. The only path to serenity.” - Lao Tzu

  8. #18

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    Ha! I'd call the Durst the best - but then I built one better! (not for sale).

  9. #19

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    I really have enough space for two enlargers in my darkroom and I already have two. But I only use one because it's my favorite.... but enlargers keep following me home! I have a third sitting in my living room now.....
    Develop, stop, fix.... wait.... where's my film?

  10. #20
    MattKing's Avatar
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    I would only consider "deleting" the 4 x 5 enlarger if:

    a) you have all the necessary parts to enlarge everything between 6 x 6 and 5 x 7 using the 5 x 7 enlarger, and
    b) removing one enlarger would free up space, and you could use that space.

    6 x 6 enlargers are usually more convenient for 35mm and smaller formats than 4 x 5 and 5 x 7 enlargers, so I wouldn't get rid of the 6 x 6 enlarger.

    And the 5 x 7 enlarger is the only one big enough for 5 x 7 or panoramic formats like 6 x 17.
    Matt

    “Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”

    Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2

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