Prices are in Canadian dollars, postage not included. Or to order by phone, call us at Beseler Printmaker 35 Enlargers Manual. Beseler H Condenser Enlarger Manual. Beseler Dichro 23 dga Colorhead Manual. Beseler Dichro dg Colorhead Manual. Beseler Dichro 45 Computerized Colorhead Manual. Module for Dichro 45 Color Computer Manual. Beseler 45A Color Head Manuals Beseler Point Light Source Manual.
Three screws are then tightened by hand and the enlarger is mounted. The 67C is the easiest machine to assemble that we have ever seen. Now, back to those big prints. You turn the enlarger around on its baseboard by removing the three screws no tool necessary and reverse the machine.
Then replace the screws and it's done. There are two more pluses for the Beseler 67C. We haven't made a big thing about the fact that the enlarger can accommodate negatives up to 6 x 7cm Mamiya RB67 Pro-S makes that size negative. Modern's Editors were uniformly impressed by the workmanship, careful design and execution of the Beseler 67C.
We had guessed that it cost more than it did, and to us that means there's a lot of value there. It's a first class machine without a first class price tag--and that's hard to come by these days. By using dichroic filters the Beseler 67 Colorhead is designed to extend the capability of the 67 enlarger to color printing.
The Beseler 67 Colorhead consists of four parts: a housing that fits the enlarger chassis by means of two set screws; the mixing chamber; the lamp and filter assembly; and the power supply. Although the power supply is essential, it is sold as a separate item. To change from the condenser head to the colorhead, just loosen two setscrews at the rear of the condenser head and remove it.
Replace the colorhead in the same position, tighten the setscrews and that's it--easy and fast. Now plug the head into the power supply, plug the power supply into a voltage regulator which in turn gets plugged into a timer which is plugged into an outlet and you are ready to go. The Beseler 67 Colorhead is a really "up-front" design.
The cyan, magenta and yellow filter controls, the dials and the white, light lever are all plainly visible and easy to use on the front plate of the head. Let's look inside the unit. We do that by simply lifting up on the front plate and the lamp and filter assembly comes away.
What's left is the mixing chamber. This is simply lifted out. The mixing chamber used for our test covered the full 6x7 format. A 35mm chamber was not available, nor did Beseler announce any plans for making one available. That could be a problem; we'll discuss it later. The mixing chamber is shaped like a small, slope-roofed house with a small window to allow light to enter.
Except for the knobs and optical components, the lamp housing and filter assembly are made of heavy metal, with no evidence of plastic parts anywhere. Turn any color-control knob and a cam is actuated that moves a dichroic filter into the light path.
The knobs and the indicating windows are color coded. The scale is marked from cc in units of 1 cc. The action is firm, tight, and positive, this gave us the feeling that there was absolutely no slippage in the linkage.
This also means that you can repeat a setting with great accuracy--a comforting thought. To the right of the face plate is a white-light lever, which, in the up position, gives you filtration. Flip it down and the filter system is moved out of the light path and you get white light for focusing and black-and-white printing.
Here again the mechanical action was very positive--a sign of good design and workmanship. Let's put it back together and make a few tests. Pull down the lever on the left of the colorhead and it lifts, allowing access to the negative carrier. We slipped in a Thermo-Slide here and did some temperature measurements to see how much heat would hit your negative during exposure.
The temperature climbed rather rapidly during the first minute and a half of exposure. At the end of a minute and a half the temperature had gone up seven degrees centigrade. That's a pretty fast climb, but nowhere near high enough to cause any negative damage. Since almost all color heads interpose a mixing chamber between the light and the negative, there is a great deal of thermal insulation present, and almost no heat rise takes place.
Most color exposures run less than a minute the upper end of color paper reciprocity effect. So why are we timing out to three minutes? Well get into that when we talk about the lack of a 35mm mixing chamber. One troublesome note; when the head was set in place and carefully adjusted with the retaining screws well tightened, there was a bit more of a light leak than we cared for. It originated at the point where the colorhead meets the carrier, and it resulted in a faint sliver of light around the darkroom at carrier height.
It wasn't enough to fog paper, but was somewhat annoying. Now let's measure evenness of illumination. We'll do it two ways: first, with a 50mm lens and 35mm carrier in place; then with a mm lens and a 6 x 7 carrier in place.
Results with the 35mm setup were first class. The difference corner to corner was undetectable by our Lektra PTM-7a photometer. The same test repeated for 6 x 7 indicated that results dropped from "impressive" to only "excellent.
When we made prints from 6 x 7 or 6 x 6 negatives, the Beseler 67 Colorhead was pretty fast. That's a nice comfortable exposure time, well clear of reciprocity problems. But when we switched to a 35mm negative and a 50mm lens, exposures increased dramatically. Or, in a neutral test, a ratio of exactly This is easily accounted for when you consider that the broad spread of light for the 6x7 will naturally cause a drop in intensity on the smaller 35mm area where greater light concentration is needed.
And the solution is equally simple--providing a 35mm mixing chamber. This camera manual is for reference and historical purposes, all rights reserved. Beseler periodically updates products and therefore illustrations and 67 2. While this head is not extraordinary, it is solid and well designed, and ,anual perfect companion to the 67CS enlarger. The mixing chamber is shaped like a small, slope-roofed house with a small window to allow light to enter. But when we switched to a 35mm negative and a 50mm lens, exposures increased dramatically.
The entire assembly may then be tilted from side to side and front to back beseleg aligned. Now for some critical testing on the negative for alignment, illumination and temperature gradients.
The bubble should stay centered when the bar is placed across the negative stage and lensmount. As time goes on, designs for enlargers become increasingly better. The Beseler 67CS enlarger is an exercise in simplicity of design, assembly, and operation. At the end of a minute and a half the temperature had gone up seven degrees centigrade. What a great guy. By continuing to use this site, you are consenting to our use of cookies.
Jul 8, 1. Lifting a panel on the front of the lamphouse gives you total and easy access to everything inside—condensers, filter frame, heat absorbing glass and the lamp itself.
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