For a platform, have you considered a movable cart? Northern Tool Company has a number of "material handling" carts with hydrolic lifts (foot pumps) for raising and lowering. I am in the process of experimenting with them to see if they would work for mounting a 20x24 studio wet plate camera on them. I visited the Des Moines store yesterday and played around with them in the back of the store. They didn't have the exact model I wanted in stock, so I will have to order it in. The main problem I see with it for your application would be making sure it is square to the wall you mount paper on. I don't know, something to think about.
As you get the enlarger built , before moving forward , start considering the wall, how to move the enlager back and forth and some processing considerations.
I just built a room to do giant murals and the 40ft sink is ready to go in 3-4 days, I may have some practical tips that will help you into the wall mount and processing side.
Originally Posted by Bob Carnie
I was considering mounting the enlarger in a fixed position, and having a movable easel. Easy repeatable registration will be the biggest problem, if I do that. It may work better with my space. I'm mainly trying to avoid having to fabricate a floor mounted track. The largest prints I plan to make would have a max of 40" inches on the short side (40x60 for instance), so I was thinking wallpaper trays if I can find them over 40" or if not, something along those lines, either constructed, or purchased, and a two man operation for development.
Your facility sounds incredible.
That's just, like, my opinion, man...
Originally Posted by Allen Friday
what I've found works best is a piece of galvanized steel, painted with a satin or flat medium gray automotive paint, cheap and works well.
just had an inspiration, as I'm rebuilding a vertical camera as an enlarger. Plume used to (and still might) build light boxes that had a "patented" diffusor that equalized the light distribution. (basically an inverse of the illumination, thereby equalizing the light output)
Were one to build a light source, getting it as equal as possible, then expose a piece of lith film, through a contact screen, focused on the diffusor panel at 1:1, you would get an inverse of the light distribution, after processing, sandwiching the screened film between a piece of clear acrylic and the diffusor will theortically equalize the light distribution.
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Originally Posted by JBrunner
A movable easel will work quite nicely , You may want to consider a vertical setup,and stepping up to change filters bla bla bla, There was this guy in Canada who cut a hole through a second floor and projected down to make massive prints.
The floor track is not hard if you have room and will allow you to move the enlarger to the wall if you are doing other things.
I went to a plastic welder, any enviornmental silver recovery company in your area will know a dude who can plastic weld.
then make the trays to your size.. 46inches wide by 12inches bottom/deep on the inside measurment. Rolling the prints through a series of these trays is a piece of cake, make sure you wear gloves, longer than normal dev time, and consistant rolling.
Where you are going to find problems is toning, I had to make large trays for this ,, once again the plastic welder dude, they need not be as deep but should be able to hold a 40x60 inch print. you will need two.
Otherwise I would stick to dev, stop, fix, fix hypoclear and 1:20 selenium tone then final wash as your workflow.
Wash is done by the fill and dump method and quite frankly is a backbreaker and the biggest pain in the ass in the whole workflow.
I commissioned the plastic welder to make me a vertical slot washer.. 48Inches x 74Inches with six slotts .. I think it holds over 110 gallons of water.
This sucker is setting me back $5000 but we do a lot of murals here and will save a lot of hours in the long run.
BTW if you make the trays as I suggested it really is a one man operation, just need strong wrists. *I got mine from playing hockey, and other things not needed to be mentioned.*
I made similar masks for very big enlarger I built, I was making enlargements where exposure for some work had to be accurate to 1/10 stop or less across the image. I used this enlarger with 420mm,610mm,760mm and 1200mm lenses. I made a mask out of ortho film for each lens which I would place behind the diffuser in the head. I just exposed the masking film at 100% magnification and the thinnest area was about .02 density units above base fog.
Why are there no speaker jacks on a stereo camera?
Once you have the enlager placed in a permanent position, draw a pair of lines on the floor extending from the enlarger. Make sure they are square to the enlarger and parallel. When you build the movable easel for holding the paper, design a couple of line up points or targets on the bottom of the carriage. The wider the lines are apart from each other, the more accurate will be the alignment. As long as both targets align with the lines extending from the enlarger you will be in registration. Mark off the lines in 1" or 1/2" increments. Then you can record the distance for specific prints if you later do reprints.
"Fundamentally I think we need to rediscover a non-ironic world"
How about using a laser pointer and some cards with holes in them? Mount the laser firmly on either the easel or the enlarger, and then attach two cards with holes on the front and back of the enlarger or easel (so the cards are a foot or two apart), such that if the easel and enlarger are lined up the laser passes through both holes. The laser has no equivalent to the distance marks though.
Originally Posted by Jim Chinn
I could use side pointed lasers for distance.
Originally Posted by Tommy
"I asked for an easel with friggin lasers, throw me a bone here!"
That's just, like, my opinion, man...