15" F/11 Red Dot Artar ?

On Sat, 15 Mar 2008 12:03:38 -0500, John
wrote:

On Sat, 15 Mar 2008 10:09:29 -0500, jjs wrote:

I always laugh at those who are so certain they are right.

Usually I'm too busy kickin myself in the ass to laugh at others.

JD


March 15, 2008, from Lloyd Erlick,

.... ah, the getting of wisdom ... always such
a pleasure.

regards,
--le

On Sat, 15 Mar 2008 13:52:19 -0500, "Nicholas
O. Lindan" wrote:

jjs wrote:

I always laugh at those who are so certain they are right.

How do manage to catch your breath this election year?


March 15, 2008, from Lloyd Erlick,

Well, we could rewrite the OP's sentence just
for fun ...

---I always laugh at those who are so certain
they are left.---

regards,
--le

"Nicholas O. Lindan" wrote in message
...
jjs wrote:

I always laugh at those who are so certain they are right.

How do manage to catch your breath this election year?

You catch your breath in between cursing that these are the only choices we
have! If some candidate legally changes his name to "None of the Above", he
will win in a landslide!

The Saltzman 8x10" enlarger arrived this morning and been put to storage. It
took five of us to carry the center column. So we're wimps.

And it does have a 15" F/11 Red Dot Artar. The lens is quite small, but then
it is an F/11 (to F/90). The 110V shutter I had in storage fits very nicely
over the front of the lens, so I'll be investigating constant-on light
sources.

I remember seeing an 8x10 Saltzman in Cole Weston's darkroom during a
workshop. It was mounted on a concrete pillar that came up from a
foundation through the basement. There's a portrait of Cole in his book
'Fifty Years' showing him leaning up against it (he calls it his 'one ton
Saltzman). I suppose Kim has it now.



jjs wrote in message ...
The Saltzman 8x10" enlarger arrived this morning and been put to storage.
It took five of us to carry the center column. So we're wimps.

And it does have a 15" F/11 Red Dot Artar. The lens is quite small, but
then it is an F/11 (to F/90). The 110V shutter I had in storage fits very
nicely over the front of the lens, so I'll be investigating constant-on
light sources.

"Fred Leif" wrote in message
...
I remember seeing an 8x10 Saltzman in Cole Weston's darkroom during a
workshop. It was mounted on a concrete pillar that came up from a
foundation through the basement. There's a portrait of Cole in his book
'Fifty Years' showing him leaning up against it (he calls it his 'one ton
Saltzman). I suppose Kim has it now.

Cool, Fred. Did you or anyone get a chance to use it?

It was popular to those who could afford one and deal with installation.
Here it is, same model:
http://www.sciencetech.technomuses.c...ion/karsh6.cfm and
they made a larger, dual column one, too. (For scale, remember it is is ~12'
tall.)

No, the Saltzman wasn't used in the workshop ... what Cole demonstrated
during the darkroom time was film development by inspection using ABC Pyro,
and contact printing using one of Edward Weston's negatives (a nude of
Charis on the dunes) using amidol. (He held a drawing in the class and gave
the test prints to one of the lucky students. My luck wasn't with me that
day. darn!)

Cole used the Saltzman to make Cibachrome/Ilfochrome prints for his color
work. He talked about the incredible effort it took to get it into his
darkroom and installed.


jjs wrote in message ...

"Fred Leif" wrote in message
...
I remember seeing an 8x10 Saltzman in Cole Weston's darkroom during a
workshop. It was mounted on a concrete pillar that came up from a
foundation through the basement. There's a portrait of Cole in his book
'Fifty Years' showing him leaning up against it (he calls it his 'one ton
Saltzman). I suppose Kim has it now.

Cool, Fred. Did you or anyone get a chance to use it?

It was popular to those who could afford one and deal with installation.
Here it is, same model:
http://www.sciencetech.technomuses.c...ion/karsh6.cfm and
they made a larger, dual column one, too. (For scale, remember it is is
~12' tall.)

In article ,
Lloyd Erlick Lloyd at @the-wire. dot com wrote:

On Sat, 15 Mar 2008 09:08:35 -0400, ____
wrote:

I always laugh when people say they cut a hole in the ceiling. You could
have just dropped the counter top and then made an adjustable shelf in
front of the enlarger to make smaller prints.



March 15, 2008, from Lloyd Erlick,

Dropping the counter results in a work space
that is hard on one's back (if one's back is
so inclined ...).

But the real truth is that the enlarger ends
up mounted as low as possible (hell with your
back) and the ceiling is cut, too.

regards,
--le
________________________________
Lloyd Erlick Portraits, Toronto.
website: www.heylloyd.com
telephone: 416-686-0326
email:
________________________________

I talked with a guy once that dug a hole in his basement floor and sank
the enlarger after pouring new concrete to cover the dirt. My original
statement was not really aimed at 8x10 enlargers which bring a whole new
set of problems since some have columns longer than 8 feet. For shorter
columns, One can drop the counter and use a low chair to sit at, then
its just a matter of using a focus extension cable or a bicycle chain
running off a sprocket permanently mounted to the focus shaft.

--
Reality is a picture perfected and never looking back.

In article ,
Rob Morley wrote:


It's often easier to cut a hole in the ceiling, and if you lower the
bench you have to bend over further when working.

Only when making large prints. One can also horizontally mount enlargers
and wall project. Seen it done in at least two pro darkrooms

--
Reality is a picture perfected and never looking back.

In article , jjs wrote:

I always laugh when people say they cut a hole in the ceiling. You could
have just dropped the counter top and then made an adjustable shelf in
front of the enlarger to make smaller prints.

I always laugh at those who are so certain they are right.

Its a normal human trait.

--
Reality is a picture perfected and never looking back.