Dongrappo
Hello, dear lab and photography community
Preface: Part 1)
is my personal introduction. You can, of course, skip this if you like.
In point 2.)
I’ll get to my request. ;-D
1.) -
Right, first off, a brief introduction from me, as this is my first post here on the forum.
I’ve registered here under my nickname – or, hold on, this is getting a bit pretentious – my stage name ‘Dongrappo’.
My real name is just as exotic and is simply Werner.
I’m from Bremen and am /$&% years young… no, old.
Well, I might as well mention that I started taking photos as a schoolboy, or rather, gained my first lab experience in the photography club back in the late 70s.
Those were pretty much the only ones. In the 80s, I bought my own Krokus 67 and all the trimmings, but could only set up the enlarger on the wobbly toilet seat at night when everyone else was asleep, everything on my knees, trays in the bath (bathroom approx. 4 sq m) and always skint, never any money for materials.
To sum up, I’d say I never got beyond beginner’s level when it comes to the darkroom.
As for photography, well, I did that professionally for a few years. In the field of product photography and advertising, using the Sinar P2, staging shots in the studio – that was, and still is, my profession.
Oh dear, that was a long introduction.
Now, as I’ve never really been all that keen on the digital photography world. So, as for my own pursuits, and given that the many hours spent in front of a monitor aren’t doing my health any favours, I’m returning to the wholesome world of the red-light district, with its wonderfully soothing scents.
As I’m still a poor soul, I’ve been very lucky and have been generously gifted, so I now have all the equipment one needs and much more besides.
On top of that, I’ve just received confirmation that the chemicals and photographic paper have finally been dispatched today.
The equipment I intend to use:
Among other things, I now have two Krokus 69s enlargers. I picked up the second one because it came with absolutely every accessory that was ever made for the 69-s.
Apart from the colour head and a condenser unit for 35mm, which I’ve never seen or read about anywhere else apart from in a photo.
Oh yes, there are a few air bubbles in the huge condenser lenses, particularly on one of the Krokus units – is that very bad???
There were also some good or serviceable lenses included. These are the Meopta Anaret 4.5/105mm and, for 35mm, the Schneider Componon-S 2.8/50mm. Both are in very good, clear and clean condition and should certainly be enough for me. As I’ll only be making prints up to 30x40cm anyway. Mainly 18x24cm, though
2.)
The only thing I’d like to improve on the Krokus 69s would be anti-Newton lenses for the upper stage. I can’t get that from the optician round the corner. He can cut it to size, but I’d need a source for the right type of glass.
So: does anyone know of a source for such lenses?
I haven’t found anything online, apart from the suggestion to get it done at the local glazier’s for a few pence.
Oh yes, I’ve already contacted the lovely Andreas Irmer, who makes the frameless stages. If I can otherwise get on with the Krokus 69s, I’ll order the one for 35mm. For the really large formats, I still need the glass panes.
Oh dear, so many words, so many questions in my head.
It’s quite a daunting subject when you’re getting back into it.
Additional questions:
Any tips for good timers, or does it not matter? I already have a Durst Tim 60 and a Philips PDT 022/01, and a broken Kaiser automatic timer, which is probably no great loss.
One more thing. I already have two green/yellow DuKa lamps from Rowi, but for Multigrade (Foma) I need red or brown, don’t I? I have an Osram 4563 here, but I’d need another one for my room. Any tips? Do lamps from the laboratory sector (X-ray) work?
What about LEDs? I’ve read all sorts of things, but I can’t spend ages trying them out and testing them myself at the moment.
And what about LED bulbs for the enlargers? I’ve still fitted them all with 75W and 150W opal bulbs.
Can’t you use LEDs? Will that work with the non-homogeneous colour spectrum they have?
Unfortunately, I’m usually completely broke and have to keep the whole thing very cheap. An expensive hobby and no money – a bad combination, I know that well.
It’s just that, for the time being, this is one of my tasks in life, it seems to me.
If anyone from Bremen and the surrounding area is reading this, and I might be able to look over their shoulder at some point, that would be really great.
You can read a lot and YouTube has plenty to offer, but I’m more of the old school and learn best through personal contact.
Well then, many thanks for your patience in reading my, hopefully not too rambling, words, and once again, warm regards to everyone here from
Werner
KlausWehner
Dear Werner,
First of all, a warm welcome to this forum!
You’ve asked a few questions.
I could answer them all – but I’d like to focus on your main question for now.
Viewing stage for the Krokus
I’d generally recommend using a glassless viewing stage. That way, you’ll avoid a lot of problems with dust (and any images that are out of focus due to the AN glass).
A compromise would be a combination of glass (at the bottom) and a glassless negative holder at the top.
You can’t actually buy AN glass off the shelf. As a stopgap, glass from a ‘low-reflection’ picture frame might be an option.
However, important parameters such as the thickness of the glass and its surface finish should be checked beforehand.
Image stages can be produced (provisionally) using a 3D printer. I have several printed image stages in use, which work perfectly well.
Best regards
Klaus
Dongrappo
Hello Klaus,
Thank you very much for your reply. There’s actually someone who makes frameless negative masks to order, including for Krokus enlargers. http://home.datacomm.ch/irmer/Negbuehnen.html
If I like the equipment, I might go ahead and make the investment.
And I believe you can get suitable AN glass from Kienzle.
I’ve already found that out during my search.
By the way, I was also given a Kaiser VP 60, which works well too. The only problem I have with curved negatives is that the upper, glassless part is designed for 6x6, so the curved negative can’t be pressed down properly and ‘floats’ quite a way above the lower glass towards the centre. You know what I mean?!
Well, I’d much rather have two pieces of glass and do a bit more cleaning.
I also have a Revue (Dunco) and a very old Liesegang-Rax II, which is fitted with a glassless negative mask for 35mm, but I can’t fit any good lenses into it.
Oh dear, simply too many options. But also plenty of stuff to experiment with! :-)
Right then, many thanks for your thoughts on the matter.
Now I’m going to mix up some Caffenol for two 35mm films.
Best regards,
Werner
KlausWehner
Hi Werner,
If the (fresh) negatives still have a curl, it will be in the direction the film is wound.
Actually, it’s enough to secure the film on all four sides using a film holder.
However, I only perform processing on my negatives once they’ve lost their curl through storage.
You can also wind a freshly developed, dry film onto a developing spool against its curl for a few days.
Then, after a few days, it won’t be so stubborn either.
Best regards,
Klaus
Dongrappo
Hi Klaus
Thanks a lot for the tips. Those special negatives had been curled up in a film canister for years. Either I’d run out of sleeves, or I was too lazy, or something like that.
The day before yesterday, however, I discovered that there was also an extro 35mm stage for the Kaiser 60. It isn’t included with my model. You can, however, adjust the stop – the guide pins in the frame – to 35, 40 and 60mm. Nevertheless, it’s rather suboptimal, as the upper contact area is naturally much wider.
On this page you can see both negative masks right at the bottom:
Kaiser 60 Info
Ah, I still have some old Rollei Retro roll films; they were real one-roll specialists that you could never really get to lie flat. For that, a glass stage seems to me to be the only effective solution. Fortunately, though, there are only a few films I know of that have such bad properties.
Well, I’ll report back once I’ve got the DuKa up and running and the first prints have been made.
Oh dear, I’ve strayed far from the topic now!
Many thanks, and I’ll give that ‘reversing the negative’ a go!
Best regards,
Werner
Pictures of the Kaiser 60 negative stage and a Kaiser vs. Krokus or David vs. Goliath?! https://www.dropbox.com/sh/b7ivzwggs1ub9xe/AAC-Yy7rzKDohDV3SNWYSrAja?dl=0
KlausWehner
Hi Werner,
Thanks for sharing the photos.
Now I understand your problem: you want to load 35mm film into a 6x9 camera.
For this, you should use frameless 35mm masks for several reasons.
Best regards,
Klaus
Dongrappo
Well, in this case, it’s the Kaiser 6x6 glass-free viewing stage. It’s apparently designed for all formats, including 35mm; you can adjust the guide pins within this frame to suit the various negative formats.
But I don’t have any completely glass-free viewing stages for 35mm or other formats either. Not for any of the enlargers. (Blimey, do I sound a bit full of myself, or what, or what?!?!?)
I’m still thinking about having glassless inserts made for the Krokus 69s by Krokus Irmer. But first of all, I want to start with a glass stage in the Krokus.
It seems you can work with a glass stage if necessary. See also my absolute favourite promotional video on the subject of DuKa: https://www.youtube.com/watch?v=qz2dC5MXjSY&frags=pl%2Cwn
Otherwise, I’m very taken with the Liesegang UNI-RAX II. It works really well for 35mm and focuses brilliantly, and I think it looks soooooo incredibly good.
It only came with a 35mm stage and probably not a great lens. Glass-free at the bottom and on glass at the top, and then those great extras: the displayed negative number and that test insert for focusing (Yes, I have and will continue to use a grain scale! ;-) )
I was given the Liesegang as my first enlarger, and the lovely chap from the classifieds even covered the postage costs; he was so keen to ensure this beautiful piece of kit was put to good use.. Amazing – it really does restore your faith in people, or at least in some of them! :-P A base plate wasn’t included, but I’ve taken one from the Revue for now, because the Revue really isn’t well built – it’s crooked, wobbly and barely focuses properly despite thorough cleaning etc., unlike my other machines.
With the Liesegang, I just get the impression that it isn’t standing quite straight (sharpness shifts from left to right). I’m currently looking into the best way to test this.
Oh dear, back on topic: so, no glass for the Krokus, and perhaps the top AN glass from Kienzle. But not until next year, as I’m completely broke.
Well then, all the best and good light from
Werner
Here’s my Liesegang. You can also see the projection of the negatives and the slightly hidden filter holder with a filter size of 72x72mm: https://www.dropbox.com/sh/qqn0ubeb3xnvedl/AABqD9-fWg-OjRoSNMCZEi5ra?dl=0
Dongrappo
For anyone interested. I sent an enquiry by email to Kienzle regarding the AN lenses and received a quick reply. They can supply or manufacture the dimensions (side facing the image stage) – in my case 9.5 mm x 6.5 mm, 3 mm thick, and bevelled at approximately 45° all round. It would be best to send them the lenses, or better still the image stage with the lenses attached, then they should be able to fit them in.
They didn’t give me a price. Just that their minimum order value is €50 net.
It’s probably not difficult to exceed that limit with Kienzle! They do have some absolutely brilliant equipment.
I’m completely broke at the moment, so I’ll tackle that next year.
Oh yes, I also enquired at Kaiser about my old VC 60 and received a friendly reply, with the operating instructions for the machine attached – even though I’d written to them saying I already had them. But well, now I’ve got them on my computer too.
Unfortunately, the answers weren’t quite right. But then again, the machine is over 40 years old.
So I wanted to know if a colour head from the VCL 35 would fit my VC 60, to which the answer was ‘yes’. It was only afterwards, when I read the user manual, that I discovered that for the VC 35 and the VC 60, a different head with a different part number needs to be ordered for conversion to colour enlargements. I also think I read that the heads are actually the same, but that a diffuser has been fitted for medium format. However, I don’t know if that applies to this device or if it’s correct.
EDIT: I got the VCL35 from the school and the colour head does indeed illuminate the 6x6 stage without any problems. The stabilised power supply was included. Is it normal for it to hum quite loudly when in use?
Perhaps it’s just the labelling that distinguishes the two versions?! I mean the upper part – the lower one included the 35mm glassless stage (yeah) and the 35mm condenser. Which, incidentally, doesn’t illuminate 35mm film any brighter than the large condenser. You can swap them around very easily, you see.
I think the Kaiser head is really good; it’s just that the delicate column could be a bit less delicate. The Kaiser models that came after it all have a column that’s at least significantly wider. However, if you pay attention to the vibrations – that is, avoid them – everything is wonderful. Still, I’d be interested to know if there’s any other difference between the colour heads that I, as a beginner, haven’t yet spotted?
Well, I’m rambling again.
Now I want to rearrange things and then finally make and test my first enlargements in the next few days.
That’s all the info, in case any other ‘colleagues’ here are looking for these devices.
Best regards,
Werner
