Z VI Enlarger Installation Manual

Z VI Enlarger Installation Manual
RNA care
Please read this assembly instruction
booklet prior to assemblage.
7 Using the Zone VI Cold Light Heals -
Using the Standard Head ....... … = — гр. qi
TABLE OF CONTENTS / ACCESSORIES / PACKING LIST
- TABLE OF CONTENTS |
Lo i т: 152
~~ Assembling the Enlarger SE
Baseboard to Column Assembly‘ ena. D2
Mounting the Chassis on the Column. ia 2
Instllingthelens | 1.18
Inserting the Negative Carrier ........... E e р
Aligning the Enlarger ....... i = i = en a
Aligning the Negative Stage . - - - fe p.3
Aligning the Lens Stage .. . . .. ie = ps.
Wall Mounting Procedure er or : i ; 5 = = 04 >
see es 5 i i р. 4 ie
«The Zone ald ight Heads | isis . se
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- Mounting 5x7 Cold Light Heide: = a DI
-— Connecting the Standard 5 X A Cold Light Head.
Basic Operations with the Cold Light ( Controls . = : py
ema the ve 5 X 7 Cold En Head AI = р. 5 : : | . |
8x10 Heads e E == e о
пен Mounting the 8x 10 Cold Id Ligh Heads = НЕ a = = e fF
- Connecting the Standard 8x 10 Cold Light Head... o es
Basic Operations with the Cold Light Controls - a in 6
Ee Connecting the VC 8 x 10 Cold sen Head .
«Using the Variable Contrast Head . oe a us НЕ nn - DD. E
ex ie & Parts E e. E E + зо р
The following accessories are available:
The Enlarger
5x7 enlargerwitr44" columit: + .>.=>—=—. e sama vos EN6047K
5 x 7 enlarger with 60" column ...................... EN6063K
32" x 32" baseboard: adds 3" (76 mm) to column height . . . .EN5420
ТОНИ сое: сора a BEER sess ve pesos oven EN5421
Heads and Adapters
5 x 7 variable contrast cold light head .................. ENG657
5x7coldlighthead ............................... EN6505
8 x 10 variable contrast cold light head ................. EN6680
SI 10000 UNEN: vs 220% reir aa ear e E EN6508
Negative Carriers
35 MM 2 EN5735
(1: vse eee ee ee a aa aa a a aa aan EN57645
6X6UN @ mo as ae E e RU DUO ZAS a EN5766
UTE on mamas cyan Sham 26 Gms Sams ws Tams Bm EN5767
OX D CIM «vette AAA AAA a a aa aa aa aa 0 EN5769
TT von mem isin: BY Tos: bevy HGH SER EN57612
BX 17 CM oot ea EN57617
RO vo vor crests simone ssa semer GALT Ka 9 EN5745
45 SUCICNOUU CUNEN 07 mano e KERN Be a reel EN57455
BEIT sc ii maven mI MERA SE INI RR EN5757
5X7 glass anti-newton . .......... AA0710
Lens Boards
39 ii dalled ВОЗ == ¿sur sema: à arr ovens weaves EN5539
52 mm ИСО DOS: ++ zonas Wa ve aware omens ma exo EN5550
58m. drilled Dodd. ; :===a cuna an meva cuen ко co END555
70 mmdrilled board .......... aan a aan EN5566
75mmdrilled board ............ ana n ane EN5572
1 mndellled head .. ково СЕЙ: РЕНИ sean SEG EN5577
BEAK DORI. 4 sows smn av sows snes ws ava ase EN5500
PACKING LIST
All of the major components of the Zone VI enlarger come in individually num-
bered boxes. The lenses, lens boards, negative carriers and wall mount kit arrive
in 2 non-numbered box. The major components are numbered accordingly:
Box #1- Enlarger chassis
Box #2— The baseboard
Box #3— The column counterweight
Box #4— The enlarger column (either a 44" or 60")
Box #5— A light source
Upon opening each box, please check to see that all components have
been received. The contents of each box are as follows:
Box 1 contents:
One enlarger chassis
Assembly instructions
Warranty registration card
Two adhesive-backed cable holders
One 5/64" Allen wrench (for removing the negative stops— 8 x 10 head only)
One 7/64" Allen wrench (for leveling the negative stage)
One 5/32" Allen wrench (for attaching the pulley block and baseboard)
One 5 mm Allen wrench (for attaching the elevating wheel handle)
One 3/32" Allen wrench (for adjusting the riser panel tilt)
One elevation wheel handle
Box 2 contents:
One baseboard
Two baseboard support beams
Four 1/4-20 x 2" BH screws
Four 1/4-20 nuts
Two 1/4-20 x 3/4" BH screws
Four 1/4-20 lock washers
Box 3 contents:
One lead column counterweight
Box 4 contents:
One enlarger column
A cable (for the column counterweight)
A pulley assembly
Four 10-32 x 1" cap screws
A column cap (attached to the top of the column)
One 10-24 nut (attached to the end of the weight cable)
Box 5 contents:
One light source
Two power cords
One control box (for variable contrast heads)
Other items needed to assemble the enlarger are a 7/16" or adjustable wrench
(for baseboard assembly), a piece of thick glass 16" long for aligning purposes
(a medicine cabinet shelf is fine), two dowels 24" long, and someone to help you
lift it once it’s assembled. The dowels and glass are for temporary alignment; for
permanent alignment, we recommend the use of an alignment tool such as a
laser alignment device. (Ask your sales rep for details!) Another item you might
consider adding to your arsenal is a spanner wrench to mount your lenses.
re
ASSEMBLING THE ENLARGER
Baseboard to Column Assembly
As most of the enlargers we sell come complete with a baseboard, we will
begin here. If you are wall mounting only, refer to the wall mount assembly
section on page 4.
1 Unpack box #4 (the enlarger column). Take the column and lay it on
the floor with the scale facing up. Prop up the open end of the column
so that the back of the mounting plate lies flush to the floor.
2 Unpack box #2 (the baseboard). This is where your assistant becomes
invaluable. Position the baseboard so that the four holes along one side
of the finished surface align with the four holes on the bottom of the
column's mounting bracket (black side of the baseboard faces the
column). Insert one of the long screws through the column mounting
plate, then through the baseboard, and then through the matching
hole in one of the aluminum channels supplied with the baseboard
box. Slip a lock washer onto the screw's end and then finger-tighten
a nut in place to keep things intact. Follow the same procedure with
the three remaining sets of fasteners.
3 Align the two holes at the top of the channels with the screw inserts on
the bottom of the baseboard, and insert the two short screws and tighten.
4 Lastly, tighten the four previously finger-tightened screws with the
5/32" Allen wrench as you hold the nuts with a 7/16" wrench, a pair
of pliers or an adjustable wrench. (The Allen wrenches are supplied in
box # 1— the enlarger chassis.)
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SCREWS
Figure 1
ALUGNMENT <—|
SCREWS he
Mounting the Chassis on the Column
1 Unpack box #1. Use extreme caution when removing the main chassis
body. Once it's out of the box lay the chassis on it's side; NEVER POSI-
TION IT SO THAT THERE IS PRESSURE AGAINST THE LENS STAGE!
2 From the small bag of hardware (box #4, remove the cable and screw
the threaded end about 1/4" into the threaded hole at the top rear of the
chassis. Then tighten the jam nut (already on the cable) to hold the
cable in position.
3 Stand the enlarger up on the floor. At the top of the column height
scale is a small horizontal bar that clips on the column (column cap).
Remove it by simply pushing up on it. This allows you free access to the
gear track.
4 Slide the chassis over the top and down until the negative stage is about
18" from the bottom of the column. Tighten the locking knob (large
knurled knob on bottom of the left side of the chassis as you face it) to
hold the chassis in place.
5 Next remove the pulley and the four 10-32x1" cap screws from the
hardware bag. Insert the four screws into the flat side of the pulley and
attach the entire pulley assembly to the corresponding threaded holes
at the rear of the column top. Tighten the screws to the point where
they just come short of protruding into the inner wall of the column.
If they're screwed in too far, the column counterweight will not be
able to be put in place.
See Figure 1.
IMPORTANT! Rest the column back on the floor with the column
height scale facing up! Using some of the packing materials from
the column box, prop up the top of the column so that the base-
board is again perpendicular to the floor; this will make it easier
to slide the counterweight down the column core when inserting it.
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6 Unpack box #3 (the column counterweight). Place the counterweight
into the top of the column, with the hooked handle protruding out of
the top. Next, attach the cable end to the counterweight hook and push
the counterweight down the column center, being sure to align the cable
in the pulley wheel.
7 Slowly lift the enlarger to an upright position, being careful not to have
any fingers in a position where the cable could cut them off. It is best to
have the cable somewhat taught before lifting the enlarger upright; this
can be done by simply pushing the weight down the hole with a broom
handle or similar tool.) Replace the column cap and tighten the four
pulley assembly screws.
8 To install the black handle on the large lifting wheel, turn the wheel
so that the brass threaded insert is at the bottom. Take the 5 mm Allen
wrench that fits into the hex at the end of the handle and insert it
through the brass wheel insert from the inside of the wheel. Insert
the Allen wrench into the hex at the end of the handle and tighten.
9 You may now set the assembled enlarger in its final placement.
Installing the Lens
1 Mount each lens to an appropriate lens board and tighten the retaining
rings. Use of a spanner wrench is recommended but not supplied.
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To install the mounted lens on the enlarger, align the three lens board
holes with the three thumb screws, press upward and then turn the lens
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ASSEMBLING THE ENLARGER CONT.
Inserting the Negative Carrier
The are three types of negative carriers. For the smaller formats, there is a
large base with a fitted window overlay that allows for easier handling of the
negative. For the larger formats, we have a carrier that has windows with
registration pins to hold the negatives in position. And lastly, we have what
we call the “out-straight” carrier for large formats, which produces a flatter
negative plane by stretching the negative flat.
When inserting the smaller format carrier, the window faces up. When
inserting the large format carrier, the registration pins or the stretch
window faces up. As you look at the outer shape of the carrier, you'll notice
that one side of the length has three tiers and the opposite side has only
two. After raising the head by pulling the lifter handle on the left side
toward you and past the stop (small protrusion on the lower left side of the
chassis toward the rear), you can rest the back of the lifter handle on the
stop, leaving the head in an upright position. Then simply insert the nega-
tive carrier into the negative stage platform, with the three-tiered side first.
There are two registration pins on the rear of the platform that will register
the carrier into position.
FRONT TO BACK
__ ADJUSTMENT SCREW
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GLASS — — >»
— LEFT TO RIGHT
ADJUSTMENT SCREWS
ADJUSTMENT PENCIL —2 A
7/64" АЦЕМ УУКЕМСН — — — — — э>- J
Figure 3
FRONT TO BACK
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NEGATIVE STAGE—____ -
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BASEBOARD OR COUNTER TOP ——
Figure 4
Aligning the Enlarger
Even though the enlarger chassis is aligned at the factory prior to shipping,
some shift may occur as a result of shipping. While it should not be
necessary to align the chassis upon initial setup, the alignment should
be periodically checked and fine-tuned if needed.
It is not necessary for your enlarger baseboard to be level, but for ultimate
print sharpness, the negative stage, the lens stage, and the baseboard must
be parallel planes. Always start your alignment procedure with the lens and
negative stage adjustments just barely snug. This way, you won't use up all
the available adjustment travel before you reach the aligned position. The
method of alignment described here is a “feeler gauge” approach, as it isn't
so dependent on a level baseboard.
For precise alignment, Zone VI recommends the parallel alignment tool
(part #AA0730, which includes complete and easy-to-understand instruc-
tions). The parallel is a laser alignment tool and provides easy and exacting
alignment of your enlarger. If you choose not to use the Parallel, there is an
alternative method described below:
> Here's the procedure:
Aligning the Negative Stage (see Figure 3.)
1 Using the 16" piece of double weight glass, center the sheet on the nega-
tive stage so that you have equal amounts of glass extended beyond the
negative stage platform edges. Raise the enlarger chassis to a height just
above 24" (just above 19" on the scale). Place one of the dowels flush to
the baseboard under one of the protruding ends of glass, and lower the
chassis until it touches the sheet; lock the chassis in place. If when you
place the other dowel under the opposite side you don't have enough
room to seat it (opposite side is shorter), readjust the chassis by raising it
until the dowel fits and lock it again. Use the left to right adjustment
screws to get the two sides equidistant from the baseboard to the glass.
These screws are at the front corners of the negative stage and are
accessed by placing the 7/64" Allen wrench into two small holes under
the lip of the chassis. You are now leveled left to right.
2 Next, turn the sheet of glass so that it extends from front to back. Because
you can't extend the glass to the rear, use one of the dowels close to the
negative stage first. Get it snug to the glass as before and then slide the
dowel out to the end of the glass and adjust the rear adjustment screw
as needed. The rear adjustment screw is located at the center rear of the
negative stage and is accessed by sight or feel. Done!
Aligning the Lens Stage (See Figure 4.)
1 In aligning the lens stage it is helpful to have your assistant on hand
again. First raise the chassis up the column to just above 26" on the
column scale, lock in place, and extend the bellows about four inches.
Place a lens board, with firmly mounted lens, into the enlarger. Next
place the sheet of glass flush to the lens flange (the flange extends
beyond the front element, so you don't have to worry about contact
with the element). The glass should extend from front to back first—
the opposite of the negative stage procedure (in figure 3). Take one
of the dowels and place it directly under the optical axis, and using the
bellows adjustment, bring the glass down until snug with the top of the
dowel. With the second dowel, check opposite ends of the glass for level
of height and make your adjustment with the adjustment screw at the
front of the lens stage. This screw is accessed through the small hole at
the front center of the mounted lens board.
2 To make your final adjustment, simply turn the sheet of glass left to
right and repeat the procedure. The left to right adjustment screws
are accessed through the two small holes at the back of the mounted
lens board. See Figure 5.
ASSEMBLING THE ENLARGER CONT.
Wall Mounting Procedure
Before beginning, you will need some materials that are not
included with the wall mount kit. Be sure to have all items on
hand prior to starting.
One (but two are better) assistants to help lift and steady the enlarger
One 24" 2 x 6 board
One 36" 2 x 6 board
A power drill with an 1/8" bit and a 3/8" bit
Four #10 wood screws that are 1 1/4" long with washers
(for mounting the brackets to the 2 x 6 boards)
Eight to twelve 3 1/2" wood screws (to attach the 2 x 6 boards to the wall)
Four 1/4 -20 bolts with washers and nuts— These are to be used to mount
the base of the enlarger to the counter top and must be long enough to
extend from the top of the column mounting bracket (Flat base
section of column with four holes in it) through the counter top to
the bottom of the counter at least 1/2".
Materials Included With the Wall Mount Kit
One template for drilling holes
Two brackets for attaching the rods to the wall
Two short threaded rods
Two long threaded rods
Two nuts
Two turnbuckles
ALIGNMENT — —
SCREWS BH
Installation
1 For wall mounting, the key to stability is that the two 2 x 6 boards
are securely fastened to rigid studs within the wall. Therefore your
first priority is to find the appropriate wall studs that will give you as
even an amount of support as possible. You don't want to find yourself
with one end of the board anchored and the other end “floating.” Find
a space where you can center the column to the center of the boards
once mounted.
>
Mount the 24" 2 x 6 board to the wall abutting the counter top. Mount
the 36" 2 x 6 board to the wall at a height where the middle of the 6"
dimension is level with the two threaded holes at the back of the enlarg-
er column and the center of the 36" dimension is centered with the col-
umn. Use the 3 1/2" wood screws to secure the boards to the wall studs.
Remove the column from box #4. Position the column where it will
sit after installation, with the back of the base abutting the installed
2 x 6. Trace the “footprint” around the base on the baseboard and the
wall, and mark the eight screw holes located in the base on the counter
and wall as well.
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Drill the four holes where you marked the 2 x 6 at the base with the
1/8" bit. For the countertop four holes, use a 3/8" bit.
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At this point, refer back to the instructions on how to mount the chassis
on the column. You will need assistance here to assemble the column
and chassis. Follow the directions down to step 9, starting with “You may
now set the assembled enlarger...” Do not install the cold light head!
6 Keeping the column upright, mount the long threaded rods to the two
holes at the top rear of the enlarger column with the supplied nuts.
Just insert the rods slightly into the column core and attach a nut to
the end of each to hold it in place (screw the nut on so that it's flush
to the end of the rod)
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Mount the turnbuckles to the other end of the long threaded rods.
8 Mount the short rods with the supplied nuts to the brackets.
9 Thread the opposite ends of the short rods into the turnbuckle.
Let the entire assembled wall mount “wings” hang for a moment.
10 Lift and place into position the entire enlarger and screw into place
the eight screws that will hold the base to the wall and countertop.
(Keep supporting the top of the column until the wall mount “wings”
have been anchored to the wall.)
11 Evenly spread the “wings” until they reach a comfortable mounting
spot for the mounts themselves. Attach each bracket to the upper 2 x 6,
being sure the rod/turnbuckle assembly is not tight, as you will need
room to make your tightening adjustment. Use # 10 wood screws and
washers to attach the wall mounts to the wall.
12 Tighten the turnbuckle until the column is in the correct upright posi-
tion. The negative stage should be parallel to the baseboard. Be sure you
don't overtighten, as you will pull the column back too close to the wall.
13 Align your enlarger as described in the aligning section.
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THE ZONE VI 5 x 7 CoLD LIGHT HEADS
Mounting the 5 x 7 Cold Light Heads
Mounting a 5 x 7 cold light head is easy. There is a flange at the rear
of the cold light head that fits into a corresponding slot on the chassis.
Raise the cold light head above the negative stage and lower the flange into
the slot. Done!
— TILT FOR LIGHT SEAL
ADJUSTMENT SCREWS
Figure 6
There is also an adjustment to correct any front-to-back light leaks when
the head is lowered onto the negative holder. By unscrewing the two tilt
adinetmant cp i i
adjustment screws, you will raise the front of the head.
The Standard 5 x 7 Cold Light Head
Connecting the Head to the Timer
First, be sure that the power switch on the timer is in the off position.
Take one of the power cords supplied with the light source and plug it
into the outlet on the top of the head marked “Timer.” Plug the other
end into the receptacle marked “lamp” or “enlarger” on your timer.
If you are using a compensating timer type device, also plug the photo-
cell connector into the three pronged pin-jack just in front of the power
cord receptacles on the top of the head.
Connecting the Head to the AC Power Main
1 Using the remaining power cord, plug one end into the receptacle
marked “Power” on the top of the head, and the other end into an
AC household outlet.
2 There are two gray P-shaped hooks that are used to hold the power cords
out of the way. These are installed by removing the adhesive protectors
from their backs and placing one at the top of the chassis on the angled
section that wraps around the back of the column on the right side, and
the second one below it (behind the crank wheel). When installing the
cords into the clips, allow yourself a strain relief at the top of about five"
(an upward bow between the top P-clip and the cord receptacles).
Basic Operations with tke Cold Light Controls
On the face of the head, on the upper right hand side, you'll find the power
switch. To turn on the unit, simply rock the switch to the on position. (The
switch will light up red.) It is normal for the head to flicker once as you
power it up and once as you turn it off.
Just to the left of the power switch is a small green “stabilized” indicator
light. An important concept to understand is that this indicator light only
functions when the timer is actually timing an exposure. It is therefore
important that the head be pre-warmed to ensure stability. To do so, you
simply turn your timer onto the focus mode and let the lamp stay on for
a period of five minutes prior to your printing session.
IMPORTANT: If you leave the head off for a period of more than
seven minutes, you should check your stability before continuing
your printing session. To do so, just make a “blank” exposure,
keeping an eye on the green “stabilized” indicator light to make
sure it stays lit. If not, warm the head up again by turning on the
lamp with the focus switch on your timer.
The 5 x 7 Variable Contrast
Cold Light Head
Connecting the head to the timer and connecting the
head to the AC power main are the same as for the
standard graded head. See directions at left.
Connecting the Control Box
To attach the control box, simply insert the large telephor
the receptacle on the back of the control box.
There are two gray P-shaped hooks that are used to hold the power cords
out of the way. These are installed by removing the adhesive protectors from
their backs and placing one at the top of the chassis on the angled section
that wraps around the back of the column on the right side, and the second
one below it (behind the crank wheel). When installing the cords into the
clips, allow yourself a strain relief at the top of about 5" (an upward bow
between the top P-clip and the cord receptacles).
HINGED FRAME-___
REGISTRATION
SCREWS
THUMB HOLE
Figure 7
THE ZONE VI 8 x 10 Corp LIGHT HEADS
There are two things the 8 x 10 cold light heads share— the “stretch-out”
negative carriers and the mounting procedure. We will cover these first and
then we will discuss the specific features of the two heads separately.
The “Stretch-out” Negative Carrier
1 Remove the negative carrier from the funnel-shaped adapter unit (8 x 10
base). Pull on the door handle until the latch releases, then the carrier will
slide out easily.
2 To remove the upper hinged frame from the base, simply press up from the
bottom of the frame through the oval-shaped finger holes. Put it aside for now.
3 To insert the negative into the carrier, place the negative emulsion side down
and orient the negative so that the bottom of the image abuts the positioning
stops. The hinged upper frame is positioned by two stops that must line
up with two counter-bored holes in the frame’s bottom. When the frame is
properly aligned with the stops by lining up the rear corners with the side
support bars, it will click into place when extended to its flat position.
4 Because different films do actually come in slightly different sizes, our film
guide stops are fully adjustable; just loosen the screws of the stops and
side bars and simply reposition them to the appropriate dimensions.
The rubber pressure points must be returned to their original position to
maintain pressure against the hinged frame.
See Figure 7.
—
Lower the chassis as low as you can without hitting the lens to the base-
board, and remove the negative carrier (pull on the “door handle” until
the latch releases, then the carrier will slide out easily). Set it aside for
a moment.
no
Remove the 5 x 7 head and negative carrier from the chassis, or color
head adapter if that is being used, leaving the negative stage frame bare
and accessible.
3 Remove the two negative holder stops at the rear of the negative stage
with the 5/64" Allen wrench included in the hardware kit.
4 Set the large funnel-shaped adapter unit (from which the negative
holder has been removed) onto the negative stage, with the negative
holder door slot facing you. Reach down into the adapter and align
the three thumbscrews with the three open-threaded holes in the top
of the negative stage and tighten.
5 Place the lamp housing on top of the adapter with the on/off switch
facing you. There is nothing to fasten as the head is held in place
by gravity.
The Standard 8 x 10 Cold Light Head
Connecting the Head to the Timer
First, be sure that the power switch on the timer is in the off position. Take one
of the power cords supplied with the light source and plug it into the outlet on
the top of the head marked “Timer.” Plug the other end into the receptacle
marked “lamp” or “enlarger” on your timer.
If you are using a compensating timer type device, also plug the photo-cell
connector into the three pronged pin-jack just in front of the power cord
receptacles on the top of the head.
Connecting the Head To the AC Power Main
Using the remaining power cord, plug one end into the receptacle marked
“Power” on the top of the head, and the other end into an AC household outlet.
There are two gray P-shaped hooks that are used to hold the power cords out of
the way. These are installed by removing the adhesive protectors from their
backs and placing one at the top of the chassis on the angled section that wraps
around the back of the column on the right side, and the second one below it
(behind the crank wheel). When installing the cords into the clips, allow yourself
a strain relief at the top of about 5" (an upward bow between the top P-clip and
the cord receptacles). |
IDAVING FHL DONITAWISSY
Basic Operations with the Cold Light Controls
On the face of the head, on the upper right hand side, you'll find the power
switch. To turn on the unit, simply rock the switch to the on position. (The
switch will light up red.) It is normal for the head to flicker once as you power
it up and once as you turn it off.
Just to the left of the power switch is a small green “stabilized” indicator light.
An important concept to understand is that this indicator light only functions
when the timer is actually timing an exposure. It is therefore important that the
head is pre-warmed to ensure stability. To do so, you simply turn your timer
onto the focus mode and let the lamp stay on for a period of five minutes prior
to your printing session.
IMPORTANT: If you leave the head off for a period of more than seven
minutes, you should check your stability before continuing your printing
session. To do so, just make a “blank” exposure, keeping an eye on the
green “stabilized” indicator light to make sure it stays lit. If not, warm
the head up again by turning en the lamp with the focus switch on your
timer.
The 8 x 10 Variable Contrast
Cold Light Head
Connecting the head to the timer and connecting the head
to the AC power main are the same as for the standard
graded head. See directions on page 5.
Connecting the Head to the AC Power Main
Using the remaining power cord, plug one end into the receptacle
marked “Power” on the top of the head, and the other end into an AC
household outlet.
Connecting the Control Box
To attach the control box, simply insert the large telephone-style jack into
the receptacle on the back of the control box.
There are two gray P-shaped hooks that are used to hold the power cords
out of the way. These are installed by removing the adhesive protectors
from their backs and placing one at the top of the chassis on the angled
section that wraps around the back of the column on the right side, and
the second one below it (behind the crank wheel). When installing the
cords into the clips, allow yourself a strain relief at the top of about 5" (an 6
upward bow between the top P-clip and the cord receptacles).
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USING THE ZONE VI Cob LIGHT HEADS
Using the Standard Head
(Single Tube Configuration for
Graded and VC Paper)
The Zone VI standard cold light head was designed for use with graded
paper. Basically, you simply predetermine the grade of paper you wish
to use and follow standard printing procedures.
You can, however, use filters and print with variable contrast papers.
The concept to understand relates to how the paper emulsion reacts to
various colors of light. Our graded paper has a bromide emulsion that is
very sensitive to blue light. As our original cold lights were designed for this
type of emulsion, they have a bluish tint to them. Variable contrast papers
have two emulsions, which are responsive to blue and green light, respec-
tively. One layer is responsible for highlights (green layer) and the other for
shadows and dark values (blue layer). Our cold lights that are designed for
variable contrast, therefore, have a green tube and a blue tube to corre-
spond to the appropriate layers’ sensitivities. You might ask why variable
contrast filters are yellow and magenta— think in terms of opposites
(magenta-green and yellow-blue). Because the standard single tube head
is blue, it is only activating the high contrast layer and thus giving you
only the highest grade values this combination of paper and light can
give; generally about a grade 4 1/2.
As you can see, this is not an appropriate place to start when trying to
reach a grade less than 4 1/2; we've gone far past a middle ground starting
position. The reason 40cc yellow filtration is always given as the magic cure-
all is that with this amount of yellow filtration, a green that is suitable to
produce about a grade 2 is created, getting us back to that middle ground.
One can add magenta filtration from here to build up contrast or use more
yellow filtration to lower your contrast. The filters that you have previously
used will not be calibrated to the grade that they have listed, as the balanc-
ing yellow filtration disrupts the progression, but with a little testing you
will be able to determine approximate grades. We find that using just a set
of yellow cc filters is a better alternative, as you're not elongating your print-
ing times when you wish to increase your contrast. In fact you'd be decreas-
ing it, simply because your filter densities become less as you decrease the
amount of yellow. It's also a little easier to keep track of; it's simple— with
no filtration you're at your highest grade, and the more yellow you add, the
lower the resulting contrast.
Using the Variable Contrast Head
(Two Tube Configuration)
Important note: When using any of the variable contrast heads it
is recommended that the brightness control on the box be set at
about 5 1/2. This will ensure a window of stability long enough to
run your print through the chemistry and get back to the enlarger
for further printing.
The Zone VI variable contrast cold light head was designed to fully utilize the
wonderful capabilities that modern VC papers inherently possess. There are
basically two methods to printing. It's up to you to determine which process
works best for the style of printing you do.
Single Exposure Printing
The first method is the method you've grown up with, whereby you make
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a single exposure with the light source at a predetermined light mix to give
you a specific grade. As a result of the two-tube technology addressing the
individual sensitivities of the papers’ emulsions, you are able to throw the
old concept of “grades” out the window. A single exposure can produce
an image with rich black shadows and delicately soft highlights.
Because of the infinite range of grade possibilities capable with the Zone VI
VC heads, we can only give you a rough estimate as to where to find given
grades. They of course will vary depending on the type of paper and
chemistries used. For the purposes of copying an exact grade replication, one
must test what combination of light will create a matching grade. To do so,
you must first make prints on the graded paper you're looking to match in
all grades, then follow the guidelines for estimated grades and tweak the light
balance to nail down the specifics. To give a print more contrast you add
more hard (blue) light or subtract some soft (green) light. To get an idea of
what's possible from any given negative, we suggest making three prints
from the negative— the first using only the hard (blue tube) light, the second
using only the soft (green tube), and the last using a setting that represents
about a grade 2 print (hard max—soft max on the VC control box).
Guidelines for Estimated Paper Grades
The highest grade obtainable is about a 4 1/2. This is found when the soft
light is off totally and the hard light is on maximum. The lowest grade
obtainable is about a 00. This is found when the hard light is off totally and
the soft light is on maximum. To obtain a grade 2 print, set the controls on
the control box to any like value (both soft and hard controls at maximum).
To find grade 3, set your hard light on maximum and pull back on the soft
light to the letter “D” or “E.” Grade 1, conversely, is found with your soft
light on maximum and the hard light value lessened to the letter “D.” By
adjusting the tube controls up and down you will be able to find virtually
any grade between the two extremes—00 to 4 1/2. A helpful hint here is
that the paper’s emulsion is much more sensitive to the blue hard light
than it is to the green soft light, so the more blue balanced your contrast
setting is, the shorter the exposure time will be, and the more green bal-
anced, the longer your exposure time will be.
Split Printing
The second procedure for printing is called split printing. We here at Zone
VI strongly recommend this procedure as it allows you to actually see more
of the options a given paper can produce. Split printing is a method of
printing that allows you to selectively adjust contrast to any given image. In
effect, one is able to maintain deep rich shadow values while, at the same
time, having smooth soft highlight renderings. It permits one to orchestrate
the best image possible from any negative. The procedure listed is based on
use of the Zone VI Variable Contrast Head, but substitute filtering will
achieve the same results.
> Here's the procedure:
1 With the soft light (green tube) in the off position, make a series of
test strips on a blank 8 x 10 sheet of paper with the hard light (blue
tube) on maximum. Be sure to use a light output—f/stop combination
that allows you a proper amount of strips to determine an accurate time.
2 After processing, determine the strip that produces an “almost” black in
the low values. (You will gain a small amount of tonal density when the
soft filtration is added later.)
3 On a fresh sheet of paper, expose the entire negative at the determined
time value and process, remembering to use the same timing sequence
and not a cumulative time (four 3-second exposures, not one 12-second
exposure). This will allow you to check for evenness of values across the
entire image and make adjustments where you feel necessary.
4 With a fresh sheet, expose the entire negative with the hard light values
that you determined above. Leaving the sheet in place on the easel, turn
off the hard light and turn the soft light to maximum. On top of the hard
light filtration exposure, lay in a series of test strip exposures using the
soft light, and process.
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USING THE ZONE VI CoLD LIGHT HEADS CONT.
5 Determine what the proper combination of times is by simply looking
at the strips. If you have two combinations that remain unclear
as to which is the better, make a print of each. This will further help
you determine the values wanted for the final printing.
6 In your final appraisal of the image, simply dodge areas that you
determine to be too dark, while exposing the hard light. If a highlight
appears too hot, simply add a little more exposure time to the hot spot
while exposing your soft light values.
Note: When making your exposures, it is important that you follow
the procedure exactly as was done when making the initial test
strips. You must still make separate exposures with both the
hard and soft lights and they must still be exposed with the same
timing increments used when doing the initial test— three 3-second
exposures are not the same as one 9-second exposure.
Warning:
This unit is designed to be used with 110V AC, 50/60 Hz only.
To prevent shock and fire hazards, do not use any other power source.
Never open the cold light source or the control box. There are no
user-serviceable parts. All servicing must be done by Zone VI Studios.
Any tampering voids the service warranty.
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Do not connect the power plug into the wall outlet until all other
connections are completed.
For the technically curious.
The electronic driver circuit is one-of-a-kind, state-of-the-art electronics.
We use a “two-step” safety fuse design. In the first step, we fuse both of
the incoming power lines in the power entry modules. In the second step,
we fuse the electronic circuit board itself and use opti-coupling to protect
the timer relay. The power supply for the tube is a state-of-the-art high
voltage transformer. It was specially designed and fine-tuned for our ibe
A closed-loop circuit gets its input from the tube. This is the only way
to ensure stable light output. A shielded sensor is watching the tube. It con-
stantly monitors the light output. The sensor translates its reading into elec-
tronic signal. In case of light output variance, the sensor signal changes the
high voltage transformer output to the light source. When the tube is turned
off, it starts cooling off. It is possible that the tube cools down to a point
where the circuitry can not stabilize the light output. The green “ready”
indicator light will then go off and the tubes need to be warmed
up again by turning them on. The tubes must be on for the circuitry to
determine if the light output is stable.
Summation: If you do not change your timer or control settings,
you will always get 100% consistency in print contrast and density.
A NOTE ABOUT ENLARGING TIMERS:
For the VC light sources, we have found in our testing here at Zone VI,
that by using our compensating enlarging timer (ZN5615), the photocell
already installed in your Zone VI enlarging light source will allow you to
effectively "speed match" the highlight areas of your prints. No matter
where the contrast controls are set, the compensating enlarging timer
will lengthen or shorten the exposure accordingly. You will find this
extremely useful if you choose to burn selected areas of your prints at
different contrast settings.
This option will allow you to create prints that have "split printing
characteristics" without having to change your exposure times.
PULLEY ASSEMBLY
MOUNTING BRACKET——>
|
_—— COLUMN CAP
TURNBUCKLE
TURNBUCKLE—— = — Sg GEAR TRACK
WALL MOUNT ASSEMBLY = —
= = COLUMN
a — E |PLUG FOR COMPENSATING
= — Е | TIMER
a — E RISER PANEL | POWER CHORD TO
5 — = | TIMER
E — = |
= — E | POWER CHORD
La el ‚FOCUS EXTENSION
zZ / (OPTIONAL)
3 /
/
LIFTER ARM > Z 7
FOCUSING KNOB——— > y [ + HEAD
Ow POWER
RISER PANEL LEVELING SCREW Ne SWITCH
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CHASSIS LOCK KNOB — = © _ veu
1 = = — Hi INDICATOR
NEGATIVE STAGE —_— = ar LIGHT
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Re NEGATIVE
7 \ NEGATIVE STAGE
NEGATIVE CARRIER ER ADJUST SCREW
(OPTIONAL) |
== “BELLOWS
LENS STAGE -
LENS BOARD
BASEBOARD (OPTIONAL)
\ —<— CONTROL
P } a >
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CONTROL BOX
(SUPPLIED WITH
| VC HEADS)
Y
CONTROL BOX CABLE PLUG
— CHANNEL
CHANNEL SCREW
COLUMN CAP »
PULLEY ASSEMBLY ———— _
WALLMOUNT KIT————» y
(OPTIONAL)
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PULLEY CABLE
COUNTERWEIGHT — —
— 1 5x7 HEAD POWER SWITCH
LIFTER ARM
FOCUSER
LIFTER ARM STOP————
= ec |NEGATIVE STAGE
LOCK KNOB
te| CHASSIS
LIFTER ARM
— BELLOWS
LENS STAGE -
ADJUSTMENT SCREW
LENSBOARD ILENSTAGE)
(OPTIONAL)
LENS — —
(OPTIONAL)
BOLT
Sa jee CONTROL BOX CABLE
COLUMN `
BASEPLATE a CONTROL BOX
A /N A 4 (SUPPLIED WITH
VC HEADS)
| CONTROL BOX
CABLE PLUG
— bh
BASEBOARD —
[CHANNEL
WASHER ———>— ==
tt — Co Co |
HA
|| — CHANNEL SCREW
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