Topic: Standard, Variable Contrast, and Dual Dichro heads...

[ChristopherCoy]

For whatever reason I've been on a kick for a new enlarger for the last few weeks. I used a friends 45MX and 23Cll the other day, both of which had Dichro color heads, and I loved it. No fumbling for under lens filters, just dial and go. We did split grade printing with them, and it was so easy. So it got me to thinking about upgrading my enlarger.

But before I do, I wanted to get a little input from you all.

Is there an advantage to using a Dichro head for B&W prints, other than being able to fine tune the contrast better than you can with under lens filters? Also, whats the difference between the standard lamp house that I have now, a variable contrast housing, and Dichro heads. (I know that dichro heads have built in color filters, but other than that?).

I've been using a Beseler 67c, with a set of Ilford under lens filters which for the most part has gotten the job done. I think it would perform better if I bought better lenses as I'm only using El Omegar kit lenses at the moment and the one 16x20 I tried came out a hot mess. I was thinking of buying a 67S or 67S2 Dichro head to switch out, but wondered if I should just hold out for a 23Cll with a Dichro head?

[Photo_Utopia]

I'll try to answer this, but I'm not overly familiar with Beseler. I think your enlarger is a condenser type with colour filter drawer?
That being the case the biggest difference you'll notice between it and a dichroic head is the latter is diffused light so it it softer much more like a cold cathode (my favourite light). This has the effect of making tones smoother and scratches less apparent, the condenser enlargers have more contrast and edge sharpness.
The other advantage of a colour head over a drawer is the filters are 'step-less' that is you can dial in +3 magenta -2 yellow normally with colour filters they go up in steps of 5 even with multigrade ones they go up in half grades.
Other advantages are you don't need to fiddle as much and above the lens filters are better because they aren't in the optical path.
Normally I advise on getting the best enlarger you can afford, if you only shoot 35mm still get a medium format one as the light path will be smoother, I worked for years on a DeVere 507 but rarely went more than 6x7 or 4x5 light coverage was superb.
Lenses are less important than you'd think, unless you make a lot of 20"+ size prints a good El Nikkor (My fave) or Schneider will be OK.
More important is mechanical rigidity and level baseboard and a good easel that holds the paper down nice and flat, a cheap lens with good easel will have better corner sharpness than an APO lens with no or poor easel.

Have fun!

[ChristopherCoy]

Ah yes! Now that you say that I remember someone explaining the difference in the light - condensed vs diffused.

[LT]

I hate dichro colour heads. They just can't manage grade 5 - I've used several, and Max magenta only results in a grade 3.5-4 equivalent.

Greater contrast control can be had using split grade and a decent timer.

My pref is always to use a condensor (DeVere 504  Varicon) for acutance, and under lens filters, using only grades 0 and 5 as split grade. This way I get great sharpness (where needed), and can control the grades to much greater degree.

I find this works for me, but there are lots of others who use metronomes, graded papers and a lot of instinct and soul, who make amazing prints.

[Francois]

Since I have three cheap enlargers, I can relate to many things.

I have a color head on my 35mm Durst. I might be mistaken but I think all color heads are diffusion.
Pros: very even light, reduces dust and scratches, don't have to use the filter drawer.
Cons: light is weaker than a comparable condenser model, forget about grade 5, lower contrast, you have to adjust exposure when switching grades by using a multiplication table.

On my small LPL enlarger that is dedicated to 6x6, I have a condenser head.
Pros: Very strong light, good contrast, ilford filters have a built-in ND to make exposures simple to calculate.
Cons: Harder to get even exposure across the frame, shows every speck of dust and scratch on the negative, you have to use filters, you have to be very careful with the condensers (don't scratch them or you're cooked).

Now, I must say my favorite one to use is probably my cheap 6x6. I just love the spark a condenser gives to your images.
But my diffusion 35mm enlarger is so reliable and predictable... I know it can deliver something good.

As for timing, I got an electronic timer (nothing fancy) that works fantastic. I just love it simply because it is a repeating timer. I calculate everything in my head. I need to add a stop, I just press the red button a second time, that simple.

[Greg Bartley]

I like dichroic heads less hassel, hell I havent melted any filters for ages now . being able to dial up mid exposure is damn sexy !

[stevesegz]

Oh no another thread that reminds me my darkroom refurb still isn't finished and I cant print yet!!

Had a dichroic head but still used under lens filters for the reason that Leon already mentioned about not being able to split grade due the max magenta issue.

However, now I have my new Ilford HLE head I can dial a grade just by pushing a little button on a key pad, it is absolute heaven!

Right going to have to throw a sickie now as its nearly finished! Hope to be done this weekend may aw well start the weekend early! 

[jojonas~]

I hate dichro colour heads. They just can't manage grade 5 - I've used several, and Max magenta only results in a grade 3.5-4 equivalent.

hmm... this calls for an experiment! would definitely be interesting to see how my durst with its colour head compares to ilford filters.

[Andrea.]

My enlarger has a bright bulb in it. Does that help?

The enlarger with the diffused bit in it refused to work this morning so I resorted to the condenser enlarger and enlargements of dust that goes with it!

[Francois]

hmm... this calls for an experiment! would definitely be interesting to see how my durst with its colour head compares to ilford filters.

Just look at the documentation that comes with the Ilford paper and you'll get the answer.

[jojonas~]

hmm... this calls for an experiment! would definitely be interesting to see how my durst with its colour head compares to ilford filters.

Just look at the documentation that comes with the Ilford paper and you'll get the answer.

ok, I'll check that. we've got some guides next to the enlargers too in the darkroom.

[Francois]

Or just download them from Ilford... they have a ton of great PDF files

[ChristopherCoy]

Ok, I'm still looking at a dichroic head. I currently use a Beseler 67C condenser head, with Ilford under lens filters. I like it, and it works. But I'm now looking at the Beseler 67S or 67S2 color heads. They use the same stands, so theoretically I could switch them out as needed.

My question now though, is when would one WANT to use diffused light, over condenser light?



For example, I have a negative of a very cherished photo. It was taken with my Yashica 635 which needs a CLA dearly. Because of the cameras uncleanliness, there is a line right down the middle of the negative. It's not prominent enough for me to trash the negative, but its noticeable enough in a large print. I did a 16x20 on my condenser head and the line came out like someone had used a sharpie marker down the front of the print. I made the same print using my friends 45MX Dual Dichro head, and the line is barely noticeable, even at the same 16x20 size. Is the difference in the two prints due to the type of light that was used? (I realize there are other factors at play such as proper exposure, contrast, etc. as well.)

[LT]

My question now though, is when would one WANT to use diffused light, over condenser light?

My answer to that is never. François's answer might be different, and Greg's might be different again. It's like asking why a person likes shorts rather than trousers. It's all about personal preferences. However ...

For example, I have a negative of a very cherished photo. It was taken with my Yashica 635 which needs a CLA dearly. Because of the cameras uncleanliness, there is a line right down the middle of the negative. It's not prominent enough for me to trash the negative, but its noticeable enough in a large print. I did a 16x20 on my condenser head and the line came out like someone had used a sharpie marker down the front of the print. I made the same print using my friends 45MX Dual Dichro head, and the line is barely noticeable, even at the same 16x20 size. Is the difference in the two prints due to the type of light that was used? (I realize there are other factors at play such as proper exposure, contrast, etc. as well.)

You appear to have answered your own question.

I personally think the time spent spotting out dust and flaws is worth the effort for the payback of the sharper acutance and bite with a condensed light source . if you want a thorough (and accessible) discussion on diffusers vs condenser vs point-source, get hold of a copy of Barry Thornton's Edge of Darkness. 

[ChristopherCoy]

if you want a thorough (and accessible) discussion on diffusers vs condenser vs point-source, get hold of a copy of Barry Thornton's Edge of Darkness.

Thanks! Looks like a pretty interesting (and expensive too!) book. I'll see if I can find a copy.


Apparently there is a LOT that I don't know about enlargers. I was just reading THIS SITE about my current enlarger, and learned quite a bit. For instance, the "dual dichro" heads can be used as either a condenser OR a diffusion head. I had no idea that's what the "dual" part meant.  Or that the 23 series can control distortion by way of negative carrier tilting but the 67 series cannot, and can you actually use a condenser head for color printing?

I've not paid as much attention to my darkroom equipment as much as I have to my cameras, unfortunately. I'm sure that there are TONS more things to learn, but I'm a very poor reader. I hate reading, I nod off and think about anything other than the book in front of my by the time I get to the 2nd paragraph.

[Francois]

Any enlarger, condenser or diffusion, can be used for color printing. The word here is convenience. With a dichroic head or color head, the filters are all in the head. But when you use a standard filterless enlarger for color work, you have to use separate filters that you put in the filter holder. It's a lot of manipulation for the same result. Also, printing color with a color head is a bit easier when it comes to balancing colors since you have constantly variable values.

Also, some people used to use additive filters (red-green-blue) when using regular enlargers to print color while all color heads are substractive (cyan-magenta-yellow).

[Jon Butler]

I've used many enlargers in my 50+ years of using them and for me any colour or multigrade head does not give the full range of grades I can get with Ilford under lens filters.
As Leon says if you split grade you can get infinite range of grades, use with an RH stop clock and you are in printing heaven. They print theirselves.
J.