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  1. #1
    JBrunner's Avatar
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    Building a giant horizontal enlarger.

    Ok, I've been given an 11x14 copy camera. Wouldn't make a great camera, but it would make a good horizontal enlarger. There are no real constraints, except budget, but that doesn't mean I wouldn't spend some money.

    I've got plenty of room, and we are at ground level. I'm looking for ideas on chasis, neg holders, easel, and VC light sources or filtration.

    Lets figure out somethin cool. I'll video blog the project.

  2. #2
    richard ide's Avatar
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    What model camera is it?
    Richard

    Why are there no speaker jacks on a stereo camera?

  3. #3
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    Hi Richard,
    I won't have it on hand for a couple of days, and the model escapes me for the moment. A friend is giving it to me. It is basically a bellows, back and lens board mounted on brass rails (tubes) with rack and pinion gears. The back is 11x14 with a vacuum glass (lots of little holes) the glass has a red grid on it. There is a door on the back that opens on hinges.


    It's fairly old, not a nuarc or something like that. I'll have it in hand very soon.

  4. #4
    Vaughn's Avatar
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    I remember seeing AA's hortizontal enlarger in his darkroom. Its been too many beers ago, but I remember it focusing onto a wall that was coverd with metal, and long magnetic strips were used to hold the paper on the wall. There was a roll-holder that mural rolls could be put on, then the paper pulled down, magnetic strips placed, then the piece was cut from the roll. The roll was then tucked away somewhere.

    He first went with tunsten bulbs...the outer ones being slight closer to the neg to even out the light. Lots of heat was generated and he eventually went to tubes. So what you may end up with is some sort of large cold-light set-up.

    Have fun! Vaughn
    At least with LF landscape, a bad day of photography can still be a good day of exercise.

  5. #5

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    You might check out Clyde Butcher's darkroom for some ideas. Besides the enlarger, his tray set-up for processing large prints is also quite impressive.

  6. #6
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    Quote Originally Posted by JBrunner View Post
    Ok, I've been given an 11x14 copy camera. Wouldn't make a great camera, but it would make a good horizontal enlarger. There are no real constraints, except budget, but that doesn't mean I wouldn't spend some money.

    I've got plenty of room, and we are at ground level. I'm looking for ideas on chasis, neg holders, easel, and VC light sources or filtration.

    Lets figure out somethin cool. I'll video blog the project.

    I believe Aristo (http://www.aristogrid.com/) will make specialized cold light lamps, but I would imagine the price is up there, IDK. Perhaps they may have one prebuilt to meet your needs. Good luck.

    Chuck

  7. #7
    Reinhold's Avatar
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    I have an Aristo 11x22 inch cold light with their V-54 lamp (for variable contrast printing). I fit it onto my 8x20 Canham and project onto a metal easel for prints up to 48 inches wide. If I had more room, I could go MUCH larger, but that'll do for now...

    Reinhold

  8. #8
    JBrunner's Avatar
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    Quote Originally Posted by Reinhold View Post
    I have an Aristo 11x22 inch cold light with their V-54 lamp (for variable contrast printing). I fit it onto my 8x20 Canham and project onto a metal easel for prints up to 48 inches wide. If I had more room, I could go MUCH larger, but that'll do for now...

    Reinhold
    Cool. Curious, how have you rigged the neg holder?

  9. #9
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    I have an Aristo 11x22 inch cold light with their V-54 lamp (for variable contrast printing). I fit it onto my 8x20 Canham and project onto a metal easel for prints up to 48 inches wide. If I had more room, I could go MUCH larger, but that'll do for now...
    Reinhold, that's what I think I'll do for 8x10 and 11x14, I have a cold light that covers 11x14 and a very clean old wooded camera for the job. I just came in after switching the gears on it. I would be making a glassless carrier since it's going to be horizontal and the film is vertical. Clips at the four corners, springs or rubber bands for contraction. With cold light the negative needs to be close to the light. I would be interested also in your negative carrier and how you case it in between the light and camera back.


    Curt
    Everytime I find a film or paper that I like, they discontinue it. - Paul Strand - Aperture monograph on Strand

  10. #10
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    Howdy Guys,

    I need to take a few digi-snaps of the setup, but other priorities prevail at the moment. In the meantime, here are my original drawings (.pdf format) for the conversion. I used cherry wood for the frame and tempered masonite for the negative carrier. The whole shebang snaps onto the camera in place of the springback ground glass assembly.

    To corral the negative, I use Post-it tape at selected points around the negative to keep in place. The tape comes off cleanly when I'm done.

    For the easel surface, I use a sheet of "painted metal", available from any sheet metal shop. I'ts nice stuff, smooth white on one side, dark brown on the other.

    Have fun.

    Reinhold
    Attached Files

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