DOCSLIB.ORG

Saunders LPL 4500 Series Operating Procedure

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Saunders LPL 4500 Series Operating Procedure Saunders LPL 4500 Series Operating Procedure Ver 2.41 2017-09-19 Saunders/LPL 4500II and 4550 XL Both enlargers are made by LPL in Japan. They were sold in the USA by Saunders and are now sold by Omega. Overview: These enlargers are primarily for medium and large format because the Leitz Focomat V35 can only enlarge 35mm negatives and is probably the better 35mm enlarger. If the Leitz Focomat is in use, you can use one of the LPL enlargers. The LPL 4500II has the standard length column and uses 200 watt bulbs. DO NOT put in a 250 watt bulb! The LPL 4550XL enlarger has the XL (extra long) length column and uses up to 250 watt bulbs. The XL should be used for larger enlargements & dense (more opaque) negatives because it uses a 250 watt bulb instead of the 200 watt bulb used by the LPL 4500II enlarger. Both enlargers have Variable Contrast Constant Exposure (VCCE) heads. When using variable contrast paper, this provides approximately the same exposure time regardless of what contrast grade is set on the VCCE head. It is easier to focus without the variable contrast filter in the optical path to give maximum brightness by setting the VCCE's lever to Focus. Do not forget to set this lever to the Enlarge position when you expose variable contrast paper! If printing on single contrast grade paper with a dense negative, you can get more light in the Focus setting Standard operating procedure Select which LPL enlarger to use Raise the dust cover to see which enlarger has the lens appropriate for your negative size. 35mm should use a 50mm lens but moderate enlargements can be made with the 75mm or 80mm lenses. Medium format should use the 75mm, 80mm, 90mm, or 100mm lenses. 4x5" negatives should use the 100mm or 135mm lens. DO NOT change the lens on the enlarger unless you are a Darkroom Docent and have the lights on. Changing the lens must be done properly or it will not clamp securely and will fall out, damaging the lens. Call a darkroom docent if you must have the lens changed. Remove the dust cover completely. Unlock the head by loosening the Carriage Lock Knob on the left side. Then grasp the adjacent Elevation Handle Bar to move the head up or down so that you can easily see what you are doing. Finally tighten the Carriage Lock Knob so the head will not move on the column. Put an appropriate size enlarging easel on the enlarger baseboard. Place negative in negative carrier, then gently slide negative carrier into enlarger Select the appropriate size negative carrier. This may already be in one of the 4500 enlargers, the plastic rack between the enlargers, or the labeled drawer. If the carrier you need is in one of the 4500 enlargers, rotate the Negative Carrier Holder Handle on the left side of the enlarger head to point up towards the Insert/Remove Negative Carrier position. Then gently slide the negative carrier out. If you will not be using this enlarger, put another negative carrier in the enlarger and then rotate the Negative Carrier Holder Handle to the Focus/Print & Storage position and put the dust cover over the enlarger. The LPL carriers are labeled for the size negative they fit. We have one 35mm, one 6x6cm, one 6x7cm, two 6x9cm, and two of the 4x5" glass carriers. Always return the carrier to the rack or drawer. Regardless of which carrier you use, always be aware there is glass in the 4x5 carriers. The Omega negative holders will also work in the LPL but should only be used if you need a second 35mm negative carrier or a glassless 4x5" negative carrier. The Omega negative carriers are stored in the drawer. Ver 2.41 2017-09-19 Place carrier with the Top label facing up, handle toward you and hinge away from you. Open the carrier, put the negative in and align it (a light table is available), and close the carrier. Rotate the Negative Carrier Holder Handle on the left side of the enlarger head to point up towards the Insert/Remove Negative Carrier position. If there is a negative carrier in the enlarger, gently slide it out and return it to an open shelf on the plastic rack between the enlargers. The 4x5 glass and the Omega carriers go into the drawer. With the negative carrier Top label facing up and Bottom label down, hold the negative carrier handle and gently slide the negative carriers over the Negative Stage Plate until the metal key tabs on the bottom of the carrier fit into the round hole in the Negative Stage Plate. Rotate the Negative Carrier Holder Handle on the left side of the enlarger head to point horizontally towards the Focus/Print & Storage position. Focus, then stop down the lens Rotate the Print/Focus lever on the front of the VCCE to the horizontal Focus position if you want the more light for focusing. Do not forget to return it to the vertical Print position if you use variable contrast paper! Set the enlarger lens to the largest aperture (smallest number) so that it is "wide open". Check if anyone else in the darkroom has paper out that could be fogged by your enlarger's light. Turn on the power supply and the enlarger timer. Push the Focus button on the timer. The enlarger's light should come on. Unlock the Carriage Lock Knob on the left side. Then grasp the adjacent Elevation Handle Bar to move the head up or down until the image on the easel is near the size enlargement you want. Use the Elevation Control for Carriage knob on the right side of the enlarger if you need to move the head up or down a small amount. Be certain you first unlock the carriage on the left side. Then refocus. Repeat until the enlargement size is correct. Lock the head. Rotate the center fine focus knob while using an enlarger grain focuser for final focusing. When finished focusing, stop the lens down about two stops or as needed for a reasonable print time. Push the Time button on the timer. The enlarger light should turn off. Print If using variable contrast paper, slide the selector for Kodak vs Ilford. For Kodak paper, slide the selector to show both a "1" and a contrast grade scale in the upper window. The lower window will only show "2". For Ilford paper slide the selector so that the upper window shows only a "1" and the lower window shows both a "2" and a contrast grade scale. This selects the appropriate filtration for the brand of variable contrast paper. Rotate the Print/Focus lever on the VCCE to the vertical Print position so that the variable contrast filter is used! If using variable contrast paper, select the desired contrast grade on the VCCE. Set timer to desired time, place paper in easel, press the timer's Start bar and expose the paper. Finish using the enlarger, put dust cover on Turn off the power supply and timer. Ver 2.41 2017-09-19 Rotate the Negative Carrier Holder Handle on the left side of the enlarger head to point up towards the Insert/Remove Negative Carrier position. Remove the negative carrier, remove your negative, and gently slide the negative carrier back into the enlarger. Rotate the Negative Carrier Holder Handle to point horizontally towards the Focus/Print & Storage position to minimize dust getting into the enlarger. Finally, place the dust cover over the enlarger. Ver 2.41 2017-09-19.
Load more

Recommended publications
  • The Positive and Negative Effects of Photography on Wildlife
    Gardner-Webb University Digital Commons @ Gardner-Webb University Undergraduate Honors Theses Honors Program 2020 The Positive and Negative Effects of Photography on Wildlife Joy Smith Follow this and additional works at: https://digitalcommons.gardner-webb.edu/undergrad-honors Part of the Photography Commons The Positive and Negative Effects of Photography on Wildlife An Honors Thesis Presented to The University Honors Program Gardner-Webb University 10 April 2020 by Joy Smith Accepted by the Honors Faculty _______________________________ ________________________________________ Dr. Robert Carey, Thesis Advisor Dr. Tom Jones, Associate Dean, Univ. Honors _______________________________ _______________________________________ Prof. Frank Newton, Honors Committee Dr. Christopher Nelson, Honors Committee _______________________________ _______________________________________ Dr. Bob Bass, Honors Committee Dr. Shea Stuart, Honors Committee I. Overview of Wildlife Photography The purpose of this thesis is to research the positive and negative effects photography has on animals. This includes how photographers have helped to raise awareness about endangered species, as well as how people have hurt animals by getting them too used to cameras and encroaching on their space to take photos. Photographers themselves have been a tremendous help towards the fight to protect animals. Many of them have made it their life's mission to capture photos of elusive animals who are on the verge of extinction. These people know how to properly interact with an animal; they leave them alone and stay as hidden as possible while photographing them so as to not cause the animals any distress. However, tourists, amateur photographers, and a small number of professional photographers can be extremely harmful to animals. When photographing animals, their habitats can become disturbed, they can become very frightened and put in harm's way, and can even hurt or kill photographers who make them feel threatened.
    [Show full text]
  • Cyanotype Detailed Instructions
    Cyanotype Detailed Instructions Cyanotype Formula, Mixing and Exposing Instructions 1. Dissolve 40 g (approximately 2 tablespoons) Potassium Ferricyanide in 400 ml (1.7 cups) water to create STOCK SOLUTION A. Allow 24 hours for the powder to fully dissolve. 2. Dissolve 100 g (approximately .5 cup) Ferric Ammonium Citrate in 400 ml (1.7 cups) water to create if you have Chemistry Open Stock START HERE STOCK SOLUTION B. Allow 24 hours for the powder to fully dissolve. If using the Cyanotype Sensitizer Set, simply fill each bottle with water, shake and allow 24 hours for the powders to dissolve. 3. In subdued lighting, mix equal parts SOLUTION A and SOLUTION B to create the cyanotype sensitizer. Mix only the amount you immediately need, as the sensitizer is stable just 2-4 hours. if you have the Sensitizer Set START HERE 4. Coat paper or fabric with the sensitizer and allow to air dry in the dark. Paper may be double-coated for denser prints. Fabric may be coated or dipped in the sensitizer. Jacquard’s Cyanotype Fabric Sheets and Mural Fabrics are pre-treated with the sensitizer (as above) and come ready to expose. 5. Make exposures in sunlight (1-30 minutes, depending on conditions) or under a UV light source, placing ob- jects or a film negative on the coated surface to create an image. (Note: Over-exposure is almost always preferred to under-exposure.) The fabric will look bronze in color once fully exposed. 6. Process prints in a tray or bucket of cool water. Wash for at least 5 minutes, changing the water periodically, if you have until the water runs clear.
    [Show full text]
  • Ground-Based Photographic Monitoring
    United States Department of Agriculture Ground-Based Forest Service Pacific Northwest Research Station Photographic General Technical Report PNW-GTR-503 Monitoring May 2001 Frederick C. Hall Author Frederick C. Hall is senior plant ecologist, U.S. Department of Agriculture, Forest Service, Pacific Northwest Region, Natural Resources, P.O. Box 3623, Portland, Oregon 97208-3623. Paper prepared in cooperation with the Pacific Northwest Region. Abstract Hall, Frederick C. 2001 Ground-based photographic monitoring. Gen. Tech. Rep. PNW-GTR-503. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station. 340 p. Land management professionals (foresters, wildlife biologists, range managers, and land managers such as ranchers and forest land owners) often have need to evaluate their management activities. Photographic monitoring is a fast, simple, and effective way to determine if changes made to an area have been successful. Ground-based photo monitoring means using photographs taken at a specific site to monitor conditions or change. It may be divided into two systems: (1) comparison photos, whereby a photograph is used to compare a known condition with field conditions to estimate some parameter of the field condition; and (2) repeat photo- graphs, whereby several pictures are taken of the same tract of ground over time to detect change. Comparison systems deal with fuel loading, herbage utilization, and public reaction to scenery. Repeat photography is discussed in relation to land- scape, remote, and site-specific systems. Critical attributes of repeat photography are (1) maps to find the sampling location and of the photo monitoring layout; (2) documentation of the monitoring system to include purpose, camera and film, w e a t h e r, season, sampling technique, and equipment; and (3) precise replication of photographs.
    [Show full text]
  • Photographic Films
    PHOTOGRAPHIC FILMS A camera has been called a “magic box.” Why? Because the box captures an image that can be made permanent. Photographic films capture the image formed by light reflecting from the surface being photographed. This instruction sheet describes the nature of photographic films, especially those used in the graphic communications industries. THE STRUCTURE OF FILM Protective Coating Emulsion Base Anti-Halation Backing Photographic films are composed of several layers. These layers include the base, the emulsion, the anti-halation backing and the protective coating. THE BASE The base, the thickest of the layers, supports the other layers. Originally, the base was made of glass. However, today the base can be made from any number of materials ranging from paper to aluminum. Photographers primarily use films with either a plastic (polyester) or paper base. Plastic-based films are commonly called “films” while paper-based films are called “photographic papers.” Polyester is a particularly suitable base for film because it is dimensionally stable. Dimensionally stable materials do not appreciably change size when the temperature or moisture- level of the film change. Films are subjected to heated liquids during processing (developing) and to heat during use in graphic processes. Therefore, dimensional stability is very important for graphic communications photographers because their final images must always match the given size. Conversely, paper is not dimen- sionally stable and is only appropriate as a film base when the “photographic print” is the final product (as contrasted to an intermediate step in a multi-step process). THE EMULSION The emulsion is the true “heart” of film.
    [Show full text]
  • Irix 45Mm F1.4
    Explore the magic of medium format photography with the Irix 45mm f/1.4 lens equipped with the native mount for Fujifilm GFX cameras! The Irix Lens brand introduces a standard 45mm wide-angle lens with a dedicated mount that can be used with Fujifilm GFX series cameras equipped with medium format sensors. Digital medium format is a nod to traditional analog photography and a return to the roots that defined the vividness and quality of the image captured in photos. Today, the Irix brand offers creators, who seek iconic image quality combined with mystical vividness, a tool that will allow them to realize their wildest creative visions - the Irix 45mm f / 1.4 G-mount lens. It is an innovative product because as a precursor, it paves the way for standard wide-angle lenses with low aperture, which are able to cope with medium format sensors. The maximum aperture value of f/1.4 and the sensor size of Fujifilm GFX series cameras ensure not only a shallow depth of field, but also smooth transitions between individual focus areas and a high dynamic range. The wide f/1.4 aperture enables you to capture a clear background separation and work in low light conditions, and thanks to the excellent optical performance, which consists of high sharpness, negligible amount of chromatic aberration and great microcontrast - this lens can successfully become the most commonly used accessory that will help you create picturesque shots. The Irix 45mm f / 1.4 GFX is a professional lens designed for FujiFilm GFX cameras. It has a high-quality construction, based on the knowledge of Irix Lens engineers gained during the design and production of full-frame lenses.
    [Show full text]
  • Selecting Cameras for UAV Surveys
    ARTICLE A REVIEW OF CAMERAS POPULAR AMONGST AERIAL SURVEYORS Selecting Cameras for UAV Surveys With the boom in the use of consumer-grade cameras on unmanned aerial vehicles (UAVs) for surveying and photogrammetric applications, this article seeks to review a range of different cameras and their critical attributes. Firstly, it establishes the most important considerations when selecting a camera for surveying. Secondly, the authors make a number of recommendations at various price points. While this list is not exhaustive, it is intended to present a line of reasoning that UAV practitioners should consider when selecting a camera for survey purposes. Weight, Velocity and Flight Time for Aerial Imaging Weight is an important consideration for aerial imaging that is often not a limiting factor for terrestrial photography. The growth of newer, higher-spec, low- weight cameras is therefore the focus of this article. In addition, the potential areal coverage of a survey is controlled by flight height, flight duration and UAV velocity – these become more tightly constrained with increased payload. Figure 1, Decrease in flight time with payload for a generic battery-powered multi-rotor UAV at a velocity of 6m/s (Bershadsky, 2016). In order to maximise flexibility in the selection of flight height, duration and velocity, weight must be kept to a minimum. A number of lightweight cameras for UAV use are reviewed below. Imaging parameters Sensor size is one of the key imaging parameters as this, along with focal length of the lens, is the core component in defining the ground sample distance (GSD) – the pixel size in the real world – of a survey configuration.
    [Show full text]
  • May2018-Highlight-Article.Pdf
    234 May 2018 PHOTOGRAMMETRIC ENGINEERING & REMOTE SENSING May 2018 Layout.indd 234 4/16/2018 12:05:54 PM ntroduction Since 2000, development and use of digital photogram- metric cameras for aerial survey has gained significant momentum. Many different cameras and systems de- signed for aerial photogrammetry were developed and presented to the market. After 15 years of intensive development, only a few of these products are in wide Productivity use in today’s mapping market. One of the prominent Isystems being provided is the medium format frame Analysis for camera from Phase One Industrial. With the development of CCD and CMOS technology, medium format cameras have come a long way from 40-60 Mpix to 80-100 Mpix cameras. Additionally, high Medium quality metric lenses with a wide range of focal lengths were developed and implemented. This enabled an ef- fective utilization of medium format cameras in many different small and medium sized urban and rural Format mapping projects, corridor mapping, oblique projects, and monitoring of areal and linear infrastructure. This article presents recent development in the ap- Mapping proach to flight planning and aerial survey productiv- ity analysis, firstly presented in Raizman (2012). The Raizman (2012) article referred only to large format Cameras cameras, whereas this article will compare large for- mat cameras vs. medium format cameras, which are getting more and more popular in aerial survey. This Yuri Raizman approach is based on some pre-defined common char- acteristics of the required mapping products. It en- Phase One Industrial ables an equivalent comparison between cameras with different parameters – focal length, sensor form and Denmark size, and pixel size.
    [Show full text]
  • Making the Transition from Film to Digital
    TECHNICAL PAPER Making the Transition from Film to Digital TABLE OF CONTENTS Photography became a reality in the 1840s. During this time, images were recorded on 2 Making the transition film that used particles of silver salts embedded in a physical substrate, such as acetate 2 The difference between grain or gelatin. The grains of silver turned dark when exposed to light, and then a chemical and pixels fixer made that change more or less permanent. Cameras remained pretty much the 3 Exposure considerations same over the years with features such as a lens, a light-tight chamber to hold the film, 3 This won’t hurt a bit and an aperture and shutter mechanism to control exposure. 3 High-bit images But the early 1990s brought a dramatic change with the advent of digital technology. 4 Why would you want to use a Instead of using grains of silver embedded in gelatin, digital photography uses silicon to high-bit image? record images as numbers. Computers process the images, rather than optical enlargers 5 About raw files and tanks of often toxic chemicals. Chemically-developed wet printing processes have 5 Saving a raw file given way to prints made with inkjet printers, which squirt microscopic droplets of ink onto paper to create photographs. 5 Saving a JPEG file 6 Pros and cons 6 Reasons to shoot JPEG 6 Reasons to shoot raw 8 Raw converters 9 Reading histograms 10 About color balance 11 Noise reduction 11 Sharpening 11 It’s in the cards 12 A matter of black and white 12 Conclusion Snafellnesjokull Glacier Remnant.
    [Show full text]
  • Hasselblad Expands Reach of Medium Format Imaging for Even More
    Press information – for immediate release Gothenburg, Sweden 19 June 2019 HASSELBLAD EXPANDS REACH OF MEDIUM FORMAT IMAGING FOR EVEN MORE CREATIVE VERSATILITY Introducing the X1D II 50C, XCD 35-75 zoom lens, Phocus Mobile 2, and revealing details of the upcoming CFV II 50C digital back and 907X camera body Following the revolutionary introduction of the world’s first mirrorless medium format digital camera, the X1D-50c, Hasselblad introduces new additions to its product portfolio that bring the joy of medium format photography to image makers with the capabilities to support their creative endeavours. This includes the evolved X1D II 50C camera, the eagerly awaited XCD 3,5-4,5/35-75 Zoom Lens and Phocus Mobile 2. In addition, Hasselblad reveals the development details of the upcoming CFV II 50C digital back and 907X camera body. Hasselblad’s newest offerings yet again expand the potential of medium format pho- tography with modularity and flexibility, all while offering the brand’s renowned, stunning image quality. X1D II 50C – AN EVOLVED MEDIUM FORMAT PHOTOGRAPHY EXPERIENCE In the pursuit to continue the journey of taking medium format outside of the studio, Hasselblad is pleased to announce the next installment of the X System – the X1D II 50C Mirrorless Medium Format Digital Camera. Dedicated to optimising the X System for a wider audience of creatives, Hasselblad has listened to user feedback and improved upon the first generation with enhanced electronics for a quicker and more intuitive medium format experience. Continuing in the legacy of being the most portable and lightweight digital medium format camera, the X1D II 50C lets you take the power of medium format in a footprint smaller than most full frame DSLRs in a beautifully designed, compact package.
    [Show full text]
  • REDISCOVER the WORLD of ANALOG PHOTOGRAPHY Rollei Cinestill Revolog Cinestill Rollei
    CHOICES We carry the world’S LARGEST SELECTION of black & white and color film in almost every format that you can imagine! Take a sneak peek at some cool choices inside or check out our huge selection online. Check it out! www.FreestylePhoto.Biz Rollei CineStill Revolog PRSRT STD U.S. POSTAGE PAID PHOTO & IMAGING SUPPLIES FREESTYLE 5124 Sunset Boulevard Hollywood, CA 90027 800.292.6137 FreestylePhoto.Biz REDISCOVER THE WORLD OF WORLD THE REDISCOVER ANALOG PHOTOGRAPHY ANALOG NEW AGAIN! NEW 800.292.6137 PHOTO & IMAGING & PHOTO | FreestylePhoto.Biz SUPPLIES © Trevor Masid Trevor © What a unique time period to be a photographer ! Everyone is taking pictures. We document every event, and even non-events, T? in an instant. Our cell phones have more photographs taken with them than WHA calls made. The amount of photography produced is the greatest it has ever … From a Paintcan been in any time period. Social media has opened up an entire new world with LegacyPro Paintcan and a whole new generation of photographers. Pinhole Camera (page 7) THE JOURNEY IS ANALOG! So, what are we doing producing an Analog Catalog? … With a box with Ars Imago Lab Box (page 22) Thanks to all of the above, the interest in photography has increased as a whole. So why not go back to our roots! Living in this online world has not only created a new generation interested in experimentation, but also a renewed passion for the arts in its many facets…old and new! This has led to a boom in new and one-of-a-kind film stocks, a resurgence in all formats, and a desire for alternative processes and hand-made images.
    [Show full text]
  • Alternative Process Photography: Beyond Digital and Film Laura Michaud University of Rhode Island, Laura [email protected]
    University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2017 Alternative Process Photography: Beyond Digital and Film Laura Michaud University of Rhode Island, [email protected] Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Art and Design Commons, Chemistry Commons, Fine Arts Commons, History of Art, Architecture, and Archaeology Commons, Nonfiction Commons, and the Photography Commons Recommended Citation Michaud, Laura, "Alternative Process Photography: Beyond Digital and Film" (2017). Senior Honors Projects. Paper 545. http://digitalcommons.uri.edu/srhonorsprog/545http://digitalcommons.uri.edu/srhonorsprog/545 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Laura Michaud THE ALT PROCESS COOKBOOK A simplified way to making beautiful non-traditional photographic prints. THE ALT PROCESS COOKBOOK Laura Michaud Special Thanks to: Zoey Stites Ron Onorato Annu Matthew Jill Enfield Laurie Sherman Steve Michaud Brian Podgurski Casey Miller Alex Murdock Porter Dolan Kim Manjuck Corey Favino Heidi Allen Anna Sherman Thank you all so much for all your help and support. Table of Contents 1. A Brief Overview of Photography…………………………….………..1 2. Making The Negative…………………………………...……....….…..5
    [Show full text]
  • Introduction to Collection Surveys and Condition Reports
    Fundamentals of the Conservation of Photographs SESSION: Introduction to Collection-Level Surveys and Condition Reporting INSTRUCTOR: Monique Fischer, Tram Vo SESSION OUTLINE ABSTRACT This part of the course will provide systematic approaches to writing condition reports for photographs and performing collection-level surveys. This section of the course will provide students with the information needed to perform the small scale survey during the distance mentoring phase. LEARNING OBJECTIVES As a result of this session, participants should be able to: Understand photographic materials, processes, and deterioration characteristics in order to write a proper condition report. Know how to implement a systematic preservation program and understand issues such as environmental control, disaster preparedness, storage and handling, potential hazards, reformatting and conservation treatment. Understand that performing a survey is the best way for a collection to survive. CONTENT OUTLINE Introduction with PPT presentations: “Condition Reporting of Photographs” and “Surveying Photograph Collection” Examples of different condition report forms, including electronic formats, will be examined and discussed. Samples will be provided to participants. Provide students with a basic outline of a survey report and discuss. Pros and cons of the condition report and survey form hand -outs will be discussed. “Hands-on” exercise: provide each student with an unknown photograph and have them write a complete condition report using a form that has been made available. Students will present reports in class. During the distance mentoring phase students will conduct a survey of their family photographs. The introduction given during the summer school will provide the information students need for this activity. www.getty.edu/conservation SESSION OUTLINE CONT’D.
    [Show full text]