</span><table border='0' align='center' width='95%' cellpadding='3' cellspacing='1'><tr><td>QUOTE (Darkroom ChromaCrafts @ May 6 2003, 03:27 PM)</td></tr><tr><td id='QUOTE'> Since I have to be able to cover 20 x 24 inch negative vacuum glass, none of the usual lighting will work&lt;&lt;&lt;&lt; Right now I use the existing 20x24 inch flourescent light deck and have found a very unique solution to the obvious problems, but as yet I have not shared it with anyone, trade secret no one will ever use because they will have the right lighting.&lt;&lt;&lt;&lt;&lt; </td></tr></table><span class='postcolor'>
Well, the Aristo would be an 8x10 at the largest. What I was referring to would be like a three tube version of the VCL4500 they make. So, 20x24? think again....but how many people are really doing that? If you knew the color temp of the tubes, then theoretically you could use CC filters to bring it back to tungsten or daylight or whatever. I guess you could also monkey with your process to shift the color balance as well. I&#39;ve made 4x5 internegs off chrome film with coldlights, by just stacking CC filters on the rear elements of enlarging lenses--it worked. I&#39;ve shot dupes off fluorescent light boxes too....

Just about every mural house we&#39;ve ever dealt with has been using horizontal enlargers, and they&#39;ll work from 4x5 or 8x10 negs. Now they just drum scan and use lightjet or lambda printers--even wide format inkjets and scotchprint materials are in the competition. I&#39;m still sorta confused I guess about what services you offer--sounds like you&#39;re using a process camera in reverse to shoot up/down onto film or paper. If I think about it enough, I can see how it would work, but I don&#39;t exactly see the benefits of it...if you get work and can run a business though, more power to you.

KT