Its massive twin E-Channel with center-braced and vertical column assures that the center of the projected image remains stationary when changing image magnification.
Thus, there is no need to reposition the enlarging easel, especially important with roll easel users. The extra long column permits enlargements greater than 24x on the baseboard from 35mm film with a 50mm lens.
The 45V-XL accepts the Beseler 3 lens turret, all the 45 series light sources and lensboards, and film carriers. A built in swivel allows the projection assembly to rotate making wall projection easy.
It originated at the point where the colorhead meets the carrier, and it resulted in a faint sliver of light around the darkroom at carrier height. It wasn't enough to fog paper, but was somewhat annoying. Now let's measure evenness of illumination. We'll do it two ways: first, with a 50mm lens and 35mm carrier in place; then with a mm lens and a 6 x 7 carrier in place. Results with the 35mm setup were first class. The difference corner to corner was undetectable by our Lektra PTM-7a photometer.
The same test repeated for 6 x 7 indicated that results dropped from "impressive" to only "excellent. When we made prints from 6 x 7 or 6 x 6 negatives, the Beseler 67 Colorhead was pretty fast. That's a nice comfortable exposure time, well clear of reciprocity problems.
But when we switched to a 35mm negative and a 50mm lens, exposures increased dramatically. Or, in a neutral test, a ratio of exactly This is easily accounted for when you consider that the broad spread of light for the 6x7 will naturally cause a drop in intensity on the smaller 35mm area where greater light concentration is needed.
And the solution is equally simple--providing a 35mm mixing chamber. We hope Beseler will do this in the near future. From both an operating and an image-quality standpoint, the Beseler 67 enlarger and Colorhead were a delight to work with. The following is a product review from the now-defunct Darkroom Magazine , Vol 3 6 October It was written by Norman J. I've edited it a bit for brevity. For those of you already familiar with the Beseler line of enlargers, the 67CS can be described quite easily: it's really just the head assembly from the 67C monocolumn enlarger which has been discontinued , bolted to the ladder-frame chassis of the 23C.
As such, the enlarger uses all of the negative carriers, lensboards and accessories which have complemented preceding 67 models, including the Dichro 67S colorhead. We tested the "standard" version of the 67CS; an XL model, featuring greater on-baseboard magnification capability, is also available. The Beseler 67CS enlarger is an exercise in simplicity of design, assembly, and operation.
By replacing the 23C head with that of the 67C, Beseler has done several things. Firstly, the readily indentifiable ladder-frame chassis construction, a Beseler trademark, has been preserved; stability, therefore, has been assured.
This change in film-format fashion had already been reflected several years ago when Beseler introduced the 67C model; it was a logical step to use the existing 6x7 head to modify the 23C. Another thing that combining two existing designs has accomplished is the simplification of the enlarging head's construction. The 23C head has more moving parts, two bellows, larger more expensive condensers and negative carriers, and a more expensive colorhead. The 67C heads, both black-and-white and color, are much less complex and therefore less expensive.
At a time when products must sometimes be compromised to keep costs as low as possible, the 67CS is one compromise that works. In use the 67CS is, again, simple and straightforward.
Elevation of the carriage is accomplished by untightening the "T-handle" elevation lock, and cranking the handle on the right side of the chassis. Plastic gears in both sides of the carriage engage toothed racks on the frame. The carriage won't fall if you let go of the crank since a counterbalance spring is incorporated in the elevation assembly.
A handle on the left side of the enlarger lifts the head when pressed to the up position. The action is smooth and positive. Two heavy springs maintain the elevated position or clamp the negative carrier firmly in place—so firmly that, even though the negative carriers have tabs on them to allow rapid negative shifting, you'd better have strong fingers to resist the springs. Focusing is accomplished by either of the left and right side knobs. Tension on the focusing assembly is adjustable should it be too loose or too tight.
The lens and negative stages are pre-aligned at the factory, but this entire assembly may be easily aligned to the baseboard by means of four screws in the negative stage and a level or carpenter's square. There are several things that the Beseler 67CS cannot do that the 23C can. The 67CS has no provision for distortion control; in other words, no swinging lensboard or tilting negative stage. Neither can the 67CS be used for wall projection since the head won't tilt backwards as on the 23C.
These points are relatively minor for most workers and in fact can be considered an advantage on the logic that "if you aren't going to use it, why pay for it? One other thing beyond the ability of the 67CS concerns the colorhead. While the colorhead for the 23C en-larger is a Dual Dichro unit, meaning that it can be used as either a condenser or a diffusion colorhead, the Dichro 67S colorhead for the 67CS is a diffusion-only design. Again, for most printers this won't be a problem since most color printing is done with the softer diffuse illumination.
The person wanting contrastier light can print color with the condenser lamphouse and an accessory set of color printing filters. The 67CS colorhead is compact and completely self-contained, but lacks a voltage stabilizer.
This highly desirable item is, however, available as an accessory from Beseler. The three filtration control knobs are clustered on the front of the lamphouse and a white light lever for removing the filtration from the light path is located on the right side. This lever on my sample was extremely tight to operate. I think this was a quirk of my particular unit, but you might want to check this out before you buy.
The Beseler Dichro 67S comes with two light-mixing chambers: one for 6x7cm and one for 35mm negatives. Changing the chambers, as well as the quartz halogen lamp, is a simple matter of sliding up the entire front portion of the head. While this head is not extraordinary, it is solid and well designed, and a perfect companion to the 67CS enlarger.
Generally, I found the Beseler 67CS to be a solid, workable enlarger. While there are certain limits to its abilities, most darkroom enthusiasts will find nothing lacking that they require. The Printmaker series comes in two sizes, the 35mm version and this 67 version, which can handle 6x7cm images.
It has three optional, interchangable heads: a stadard candenser head, a Variable-Contrast head, and a dichroic color head. Beseler 67CP Enlargers Manual.
Beseler 67C Condenser Enlarger Manual blue model. Beseler 67C Condenser Enlarger Manual black model. Beseler 23C Condenser Enlarger Manual. Beseler 45M Condenser Enlarger Manual. Beseler 67C Dichro Colorhead Manual.
Beseler Dichro 67S Colorhead Manual. Beseler Dual Dichro 23 Colorhead Manual. Beseler Dichro 45S Colorhead Manual. Beseler D.
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