dickgillberg
Member
Me too (fun to write those letters nowadays, and you who is watching this thread a couple of years from now must wonder what I ment).
I've just bought my first focomat 1c and is in need for some information. This thread is very informative. Thanks!
/Dick
Erik van Straten
Mentor
A nice read.
The IIc is a formidable piece of engineering, the best enlarger ever built. Read this:
"The following unsigned review appeared in the now-defunct Modern Photography magazine, April 1974. The title of the review was 'The Most Expensive Enlarger We've Ever Tested.' I've edited it for brevity.
Manufacturer's Specifications: Leitz Focomat IIc Enlarger.
Features: Accepts all negatives 12 x 17mm to 6 x 9cm (2-1/4 x 3-1/4 in.), cam-guided autofocus operation, parallelogram construction, rapid shift lens turret, equipped with Leitz 60mm Focotar and Leitz 100mm V-Elmar lenses, illuminated magnification scale, adjustable for easel thickness, Osram 150-watt lamp, red filter, filter drawer, heat-absorbing glass, adaptable to distortion-correction device, copying back for reproductions down to 1:1, white-surfaced baseboard and negative mask storage drawer
Price: $1,806 (with lenses).
If we had to name one enlarger that ranked first in design, quality of construction and performance, this would have to be it. The basic design concept, the fit and finish of the individual parts and the overall performance all add up to place the Focomat IIc in a category that is mighty lonely. There's only one enlarger in it, the Leitz Focomat IIc.
As a rule, we first discuss the enlarger under test in terms of its basic design. Then we talk about the various performance tests before making a final evaluation. But in this case we would like to reverse this procedure.
In terms of alignment among baseboard, negative and lens, the Focomat IIc tested out at nearly a zero discrepancy between all three planes. Actually a 1/16 bubble length (using our standard alignment tool) was detectable between negative and baseboard in the lateral plane. No detectable error was found in any other alignment measurement. To put this in perspective, we regularly run into 1/4-bubble length errors in all planes of many machines previously tested.
Illumination tests are designed to check evenness of illumination across the print area. The Leitz Focomat IIc with the 60mm Focotar in place checked out as follows: Corner-to-corner discrepancy--zero. That is, if there was a difference it was not readable on our Lektra PTM-7a photometer, and it is calibrated down to 1 /10 of a stop. The center-to-edge error was about 1 /10 of a stop. These are the best illumination specifications we have ever come across in our testing.
The Focomat lIc is a dual-format enlarger. While it covers negative sizes down to 12 x 17mm (Kodak Pocket Instamatic), it is basically designed for the man who works with 35mm and has a second camera using a larger format negative. It can be anything up to 6 x 9cm, but more likely it would be 2-1/4 in. square or 6 x 7cm ideal format. The 6x9 maximum capability, however, makes this machine especially useful in some professional graphic arts applications. It is autofocus for all formats.
The lamphouse looks like a simple spherical metal stamping. That's deceiving. Actually it is double-walled, providing heat insulation and ventilation. The inside is silver and the 150-watt bulb is adjustable over a short range. The lower section of the lamp-house is also double-walled with large vents to provide convection cooling through the lamp-house.
The entire head from negative stage upward can be removed completely by just loosening a knob and lifting the head. This facilitates cleaning, but basically it is to accommodate the accessory negative-tilting device to be used for the correction of converging verticals. This device was not tested by Modern's editors. Note that most enlargers made in Europe are equipped with this feature. Most enlargers made in the U.S. are not. And since we have never met a single serious photographer who uses this correction device, we feel that its elimination from enlarger design makes sense. In the Focomat IIc you can take it or leave it.
In order to appreciate this machine fully, you need only examine the details. The filter drawer, for example, is well made, slides in and out smoothly, but is prevented from being pulled all the way out by a rod with a gravity catch. It can be pulled out for installing filters. To remove it completely, just depress the catch and out it slides. The heart of the machine is the autofocus system. Let's trace the action of printing a negative. And let's start by removing the carrier. It is a large, heavily-built unit, hinged at the back. The glass plates that keep the negative flat are set into the carrier and recessed. They are held in place by chrome strips and a steel spring-loaded pressure arm. The front of the carrier has a lower lip and an upper hinged arm. We place the negative between the glass plates, close the carrier and slide it into the enlarger. It goes in on four tracks. A large pair of springs holds the carrier in place. The hinged bar separates the glass plates so that film may be shifted without scratching.
The opening on the carrier is 6 x 9cm. If we are using 35mm, we select a 35mm mask from the rack under the baseboard and slip it in place under the carrier. Ten masks are available to cover all possible sizes from 12x17mm to 6 x 9cm. Let's assume we are enlarging a 35mm negative. We have already set the collar at the base of the upright to the 35mm position to accommodate the height of the Leitz easel.
Now we shift the lens turret to the left to position the 60mm lens in the light path. This automatically actuates the Bowden cable which puts the proper cam into position. The enlarger is now in perfect autofocus throughout its usable range. To get the image size we need, just Ioosen a large knob to the right of the lamphouse and lift or lower as needed and the image stays in focus. The head is so well counterbalanced that the action is smooth, silky and effortless.
To work with the 100mm lens we just push the lens turret to the right and we are ready to go.
The price of the enlarger we tested includes an illuminated magnification dial that Iights up in the dark. Without this dial the price drops to a mere $1,730. Add $204 more if you want a Leitz 12 x 16 easel. One I accessory that we do recommend is the 35mm carrier with no glass on the bottom plate. It reduces dust problems. We don't know its price at this writing, but we consider it an essential adjunct to the Leitz Focomat IIc."
Erik.
The IIc is a formidable piece of engineering, the best enlarger ever built. Read this:
"The following unsigned review appeared in the now-defunct Modern Photography magazine, April 1974. The title of the review was 'The Most Expensive Enlarger We've Ever Tested.' I've edited it for brevity.
Manufacturer's Specifications: Leitz Focomat IIc Enlarger.
Features: Accepts all negatives 12 x 17mm to 6 x 9cm (2-1/4 x 3-1/4 in.), cam-guided autofocus operation, parallelogram construction, rapid shift lens turret, equipped with Leitz 60mm Focotar and Leitz 100mm V-Elmar lenses, illuminated magnification scale, adjustable for easel thickness, Osram 150-watt lamp, red filter, filter drawer, heat-absorbing glass, adaptable to distortion-correction device, copying back for reproductions down to 1:1, white-surfaced baseboard and negative mask storage drawer
Price: $1,806 (with lenses).
If we had to name one enlarger that ranked first in design, quality of construction and performance, this would have to be it. The basic design concept, the fit and finish of the individual parts and the overall performance all add up to place the Focomat IIc in a category that is mighty lonely. There's only one enlarger in it, the Leitz Focomat IIc.
As a rule, we first discuss the enlarger under test in terms of its basic design. Then we talk about the various performance tests before making a final evaluation. But in this case we would like to reverse this procedure.
In terms of alignment among baseboard, negative and lens, the Focomat IIc tested out at nearly a zero discrepancy between all three planes. Actually a 1/16 bubble length (using our standard alignment tool) was detectable between negative and baseboard in the lateral plane. No detectable error was found in any other alignment measurement. To put this in perspective, we regularly run into 1/4-bubble length errors in all planes of many machines previously tested.
Illumination tests are designed to check evenness of illumination across the print area. The Leitz Focomat IIc with the 60mm Focotar in place checked out as follows: Corner-to-corner discrepancy--zero. That is, if there was a difference it was not readable on our Lektra PTM-7a photometer, and it is calibrated down to 1 /10 of a stop. The center-to-edge error was about 1 /10 of a stop. These are the best illumination specifications we have ever come across in our testing.
The Focomat lIc is a dual-format enlarger. While it covers negative sizes down to 12 x 17mm (Kodak Pocket Instamatic), it is basically designed for the man who works with 35mm and has a second camera using a larger format negative. It can be anything up to 6 x 9cm, but more likely it would be 2-1/4 in. square or 6 x 7cm ideal format. The 6x9 maximum capability, however, makes this machine especially useful in some professional graphic arts applications. It is autofocus for all formats.
The lamphouse looks like a simple spherical metal stamping. That's deceiving. Actually it is double-walled, providing heat insulation and ventilation. The inside is silver and the 150-watt bulb is adjustable over a short range. The lower section of the lamp-house is also double-walled with large vents to provide convection cooling through the lamp-house.
The entire head from negative stage upward can be removed completely by just loosening a knob and lifting the head. This facilitates cleaning, but basically it is to accommodate the accessory negative-tilting device to be used for the correction of converging verticals. This device was not tested by Modern's editors. Note that most enlargers made in Europe are equipped with this feature. Most enlargers made in the U.S. are not. And since we have never met a single serious photographer who uses this correction device, we feel that its elimination from enlarger design makes sense. In the Focomat IIc you can take it or leave it.
In order to appreciate this machine fully, you need only examine the details. The filter drawer, for example, is well made, slides in and out smoothly, but is prevented from being pulled all the way out by a rod with a gravity catch. It can be pulled out for installing filters. To remove it completely, just depress the catch and out it slides. The heart of the machine is the autofocus system. Let's trace the action of printing a negative. And let's start by removing the carrier. It is a large, heavily-built unit, hinged at the back. The glass plates that keep the negative flat are set into the carrier and recessed. They are held in place by chrome strips and a steel spring-loaded pressure arm. The front of the carrier has a lower lip and an upper hinged arm. We place the negative between the glass plates, close the carrier and slide it into the enlarger. It goes in on four tracks. A large pair of springs holds the carrier in place. The hinged bar separates the glass plates so that film may be shifted without scratching.
The opening on the carrier is 6 x 9cm. If we are using 35mm, we select a 35mm mask from the rack under the baseboard and slip it in place under the carrier. Ten masks are available to cover all possible sizes from 12x17mm to 6 x 9cm. Let's assume we are enlarging a 35mm negative. We have already set the collar at the base of the upright to the 35mm position to accommodate the height of the Leitz easel.
Now we shift the lens turret to the left to position the 60mm lens in the light path. This automatically actuates the Bowden cable which puts the proper cam into position. The enlarger is now in perfect autofocus throughout its usable range. To get the image size we need, just Ioosen a large knob to the right of the lamphouse and lift or lower as needed and the image stays in focus. The head is so well counterbalanced that the action is smooth, silky and effortless.
To work with the 100mm lens we just push the lens turret to the right and we are ready to go.
The price of the enlarger we tested includes an illuminated magnification dial that Iights up in the dark. Without this dial the price drops to a mere $1,730. Add $204 more if you want a Leitz 12 x 16 easel. One I accessory that we do recommend is the 35mm carrier with no glass on the bottom plate. It reduces dust problems. We don't know its price at this writing, but we consider it an essential adjunct to the Leitz Focomat IIc."
Erik.
Emile de Leon
Well-known
Ah.....the days before the computer chip...when photography was actually fun...and special...
I always lusted for the 2C...never got one though..just went with Valoy2 and Focomat Grey 1C and Durst 5x7..done deal...
I always lusted for the 2C...never got one though..just went with Valoy2 and Focomat Grey 1C and Durst 5x7..done deal...
ruilourosa
Member
i work and own several enlargers and the best quality is my v35...
Graybeard
Longtime IIIf User
I have two Focomat Ic's and a V35. I prefer the Focomat Ic that I've fitted with a (last generation) El Nikkor 50mm lens - no difficulty in setting the Focomat for autofocus with this lens, it took me about 30 minutes with the aid of a focusing microscope.
The V35 has a color head which makes dialing in filtration for VC paper simple (I use Ilford Multigrade) but there is no particular inconvenience (to me, at least) in using Polycontrast filters in the below lens filter holder. I plan to fit a 50mm Componon-s to the other Focomat before too long. The Focotars that came with the Focomats are easily surpassed by the more modern enlarging lenses.
I also have and use a Durst 138 - mainly for 4x5 and 5x7. This is a superb machine. It is awkward to use for 35mm (I actually did this successfully on one occasion) but practical for larger formats. It is difficult for me to imagine the Focomat IIc surpassing this Durst.
The V35 has a color head which makes dialing in filtration for VC paper simple (I use Ilford Multigrade) but there is no particular inconvenience (to me, at least) in using Polycontrast filters in the below lens filter holder. I plan to fit a 50mm Componon-s to the other Focomat before too long. The Focotars that came with the Focomats are easily surpassed by the more modern enlarging lenses.
I also have and use a Durst 138 - mainly for 4x5 and 5x7. This is a superb machine. It is awkward to use for 35mm (I actually did this successfully on one occasion) but practical for larger formats. It is difficult for me to imagine the Focomat IIc surpassing this Durst.
Tom R
Established
I used a Valoy for about ten years. I alternated between glassless and anti-Newton glass carriers .... constantly had to deal with Newton's rings (alright ... not "constantly" but often).
But, apart from that, it was a surprisingly easy to use and dependable little thing.
But, apart from that, it was a surprisingly easy to use and dependable little thing.
Erik van Straten
Mentor
The Focomat IIc is great - the best - for 35mm if you have the 35mm carrier. Never buy a Focomat IIc without this carrier if you want to do 35mm work.
Erik.
tajart
ancien
with regards to the V35, has anyone found an led bulb to replace the Phillips 13139? and if not, what is the preferred replacement these days?
thanks
thanks
Erik van Straten
Mentor
The Valoy II, a top quality enlarger that can be had for next to nothing, has an anti-newton condensor that holds the negative flat.
Small bulbs for this enlarger are still available here:
https://uk.proflamps.com/en/Products...0100160841412/
PF603E/51 230V 75W E27 - Photocrescenta P3/3
Brand: Dr. Fischer Order code: 101-00-160841412
Erik.
M.Hilo
Established
Erik,
The Valoy II came in three versions:
1. black wrinkle paint: it came with a clear condenser
2. blue-ish dark grey: it came with a clear condenser first and later in the production with an anti-newton condenser
3. light grey normal paint: it came with the anti-newton condenser
The Valoy II came in three versions:
1. black wrinkle paint: it came with a clear condenser
2. blue-ish dark grey: it came with a clear condenser first and later in the production with an anti-newton condenser
3. light grey normal paint: it came with the anti-newton condenser
Erik van Straten
Mentor
Thank you, M. Hilo, I stand corrected! I presume that the last two models that you mention had red nameplates; and the first black.
Erik.
M.Hilo
Established
The 1st version Valoy II has the oval black nameplate.
The 2nd version first had this same oval black nameplate and later an oval reddish name plate.
The 3rd version simply had the red round nameplate
Of course, after Leitz made the AN condenser it could be bought and installed in the earlier versions. My favourite Valoy II and Focomats Ic and IIc are the black versions. I just prefer the black wrinkle paint over the later smooth light grey. But this is just a personal preference.
There are more subtle differences between versions. The earlier ones have dark brown base boards, the later ones light brown base boards. The plugs change. Perhaps the early versions more often had the shorter column (65cm plus minus) and the latest ones almost always come with the longer column (80cm plus minus). The negative masks change slightly.
Obviously some of these differences are inconsequential when it comes to printing. The Valoy II stayed pretty much the same throughout production, mostly because of its simplicity.
The Focomats Ic and IIc went through more of an evolution. The wiring of the older Focomats IIc looks like Grand Central NY compared to the simple wiring of the latest grey IIc. This is partly because functions were omitted, like the large round socket inside the base board (mechanical timer) and the light box underneath the baseboard that lit up when pulled out (!).
The 2nd version first had this same oval black nameplate and later an oval reddish name plate.
The 3rd version simply had the red round nameplate
Of course, after Leitz made the AN condenser it could be bought and installed in the earlier versions. My favourite Valoy II and Focomats Ic and IIc are the black versions. I just prefer the black wrinkle paint over the later smooth light grey. But this is just a personal preference.
There are more subtle differences between versions. The earlier ones have dark brown base boards, the later ones light brown base boards. The plugs change. Perhaps the early versions more often had the shorter column (65cm plus minus) and the latest ones almost always come with the longer column (80cm plus minus). The negative masks change slightly.
Obviously some of these differences are inconsequential when it comes to printing. The Valoy II stayed pretty much the same throughout production, mostly because of its simplicity.
The Focomats Ic and IIc went through more of an evolution. The wiring of the older Focomats IIc looks like Grand Central NY compared to the simple wiring of the latest grey IIc. This is partly because functions were omitted, like the large round socket inside the base board (mechanical timer) and the light box underneath the baseboard that lit up when pulled out (!).
Erik van Straten
Mentor
Thank you, M.Hilo, for this summary.
I was always intrigued by the lettering (typography) of the nameplate. At first this was - in my eyes - clumsy looking, but later on, from the early sixties, these flat plates were of a very sophisticated design.
I have always regretted it that these oval plates were replaced by the small raised round red logo's later on.
The looks of a black IIc with the later black oval nameplate on the condensor housing is simply great in my opinion.
Do you agree?
Erik.
M.Hilo
Established
I agree to an extent.
For me these enlargers are first tools and it hardly matters which nameplate they have. As far as design is concerned I agree with you very much, but it is secondary for me.
In my case, the IIc came with the red dot and I have another consideration: it was left to me by a friend who passed. He had bought it in the early seventies and never used it (!). He was less embarrassed about that knowing I would use it to the top. And I did! And still do.
Erik van Straten
Mentor
Yes, secondary, but ...
Great you are using this machine. I'm using mine too (a black one from about 1961).
Erik.
gnuyork
Well-known
So I have the IIC that I have yet to use (it's never been used, NOS for the most part)... really need to shift back to wet printing one of these days and see what the fuss is all about.
Same for me... mine was left to me from a friend (who never used it) that has passed, along with a ton (almost literally) of other stuff, from a chest freezer full of film, to paper, to chemicals, trays, and other darkroom hardware...and a 4x5 enlarger too.
Same for me... mine was left to me from a friend (who never used it) that has passed, along with a ton (almost literally) of other stuff, from a chest freezer full of film, to paper, to chemicals, trays, and other darkroom hardware...and a 4x5 enlarger too.
Emile de Leon
Well-known
You can get a camera adapter for the Valoy-2 as well..take the head off..and it makes for a neat copy stand.