Please note: For those unfamiliar with the history of Leica Camera AG, the company used to be called Ernst Leitz Wetzlar GmbH in honor of its founder Ernst Leitz. Many of their product carried the prefix Leitz, like the Leitz Focomat V35.
It may seem strange to talk
about an enlarger in these days of digital photography, but this is not your
average, amateur darkroom piece of equipment.
Film still is still very much in use by many photographers and Leica is
still making very high quality film cameras.
Of course, negatives (and transparencies) can be scanned and printed
digitally, but even here many photographers still prefer do arrive at their
final enlargements digitally.
With Leica film cameras and
Leica lenses we have equipment with an unsurpassed performance potential. In a conventional darkroom, it is a simple
fact that only an enlarger and enlarger lens with an equal quality will be able
to render enlargements with the same level of quality.
Such an enlarger is the Leitz
Focomat V35 and its 40mm f/2.8 WA-Focotar lens.
It was made specifically for 35mm film by accepting only negatives up to
35mm, a 35mm enlarger only, not a copy camera, a graphic arts device, nor
anything else. There is no other made by
anybody that completely addresses itself
to the wide range of 35mm photography.
Major points in favor of the
V35 are the broad autofocus range, the brightness of the image, the 40mm wide
angle enlarging lens, the streamlined design, and its extremely functional
operation.
Autofocus is one of its prime
features. Many manufacturers have tried
it over the years, and just as many disposed of it with the claim “Autofocus is
out-of-focus.” True enough in most
cases, especially when final cost plays a role.
A good autofocus system in
any case requires a focusing cam that is a perfect match for the precise focal
length of the lens. One can either take
each individual lens and painstakingly match each individual cam to the
respective lens, or do as Leitz did, using their expertise in precision lens
manufacture to make the 40mm Focotar to
such tight optical tolerances that the focusing cams required little or no hand
machining .
The focusing cam arrangement on the underside
of the V35 enlarger head
Modern Photography magazine
said: …over the years, there has only been one manufacturer consistently
willing to submit to these financial and engineering tortures – E. Leitz.”
There is another problem
involved with autofocus design.
Regardless of how well the focusing mechanism might be executed, it will
not work if the negative does not stay where it belongs, and it has to do that
within the depth of field of the lens.
This brings us to the
negative carrier. I don’t want to get
involved in a discussion of glass verses glassless carriers, only the one that
optimizes, results can be considered the right one. Leitz used a combination of the two.
V35 negative carrier
The adjustment knobs for the cropping frames
A negative with the emulsion
side toward the enlarger table (as it should be) will always have a slight upward curvature. Utilizing this, the
Focomat enlargers have always used the principle of lowering a glass surface
onto the negative to hold it perfectly flat, without the necessity of a
sandwich type glass carrier. Such
carriers often present dust problems as well as Newton’s rings, a phenomenon
eliminated in the Focomat by using an ant newton glass design. The Focomat carrier is no different from the
inside of a camera, where we also have a precision cut aperture with a pressure
plate.
The benefits of such a system
cannot be underestimated. As one person
at Leitz put it, we “no longer have to peer through focusing magnifiers all day
and go home tires and cross eyed. The
user will no longer have a stiff neck and a pulled shoulder from attempting to
make 16 times enlargements.” Autofocus
will also eliminate the prints rejected after inaccurate eyeball focusing.
Many of us also know the
hassle involved in making enlargements to exact sizes. The endless height adjustments and refocusing
can be very time consuming with non-autofocus enlargers. By saving time, the autofocus enlarger allows
more high quality work in less time.
A great deal can be said
about the overall quality of the enlarger.
In a test, Modern Photography magazine said they were surprised to find
none of the expected sideways wobble in the enlarger arm. The V35 was truly built like the proverbial little
brick house with crescent moons on the door (hearts in Germany).
The inside of the V35 height adjustment arm
Column height adjustment to compensate for
different easel height
This has some immediate as
well as long term benefits. Obviously, a
piece of equipment built like this well will last a lot longer, but it has also
an immediate effect on the quality of the results. The most basic reason to build an enlarger as
sturdy as possible is to assure perfect alignment and parallelism among the
film plane, the lens stage, and the baseboard.
According to Modern Photography’s test, the parallelism was perfect, not
“just about”, but perfect laterally and longitudinally.
Even the best optics in the
world will become useless of the film and the printing paper are not properly
aligned and parallel to one another.
Lens sharpness would become irrelevant.
The vibration damping of the
V35 can be demonstrated by putting a glass of water on top and then hitting the
enlarger with the knuckles. The water
will ripple slightly, the quickly settle.
All other enlargers, even the Beseler 23C or 45MCRX will vibrate substantially
more when compared to the V35. Part of
the reason is the steel support plate underneath the baseboard. No other enlarger has this solid column
support.
The V35 commitment to quality
is also shown in the baseboard and the Leitz easels. They are manufactured to a flatness within
0.8mm, and the fact that when manually focused when necessary, the mount has no
backlash at all, a problem very common with other enlargers; and there is no
bellows to wear out.
The illumination system is most
likely the best ever offered in any enlarger.
Even though brightness is somewhat subjective, with the V35 is has
resulted in drastically shorter exposure times.
The efficiency of the illumination system is clearly shown when compared
to the Wallner color head as it was available for the Focomat Ic. Both have similar diffusion chambers and use
identical bulbs. With the lens and the
color filters removed, the V35 is over two stops brighter at the lens stage. This can aid the cost efficiency of the
enlarger since it eliminates worries about reciprocity failure in color
materials and further lessens potential vibration problems.
V35 light mixing chamber
Equally important is evenness
of illumination. To quote Modern
Photography: “Illumination was the best we have ever seen. Illumination, corner to corner, varies less
than 1/20 stop, and the difference between center and edges was within 1/10
stop. This is not just good performance,
it is outstanding.”
Arriving at such impressive
figures was not easy. As is the case
with any wide angle lens, the Focotar has slightly less corner illumination. To even this out, Leitz used a special diffuser on the bottom
of the diffusion chamber. It is shaped
similar to a condenser, but has its curvature downwards to the negative
stage. Its density increases from the
edge towards the center, compensating for the uneven illumination. This the main reason why the 40mm Focotar
would not work anywhere near as well on any other enlarger, including the
Focomat Ic.
One objection that is often
heard is in regard to the lack of condensers. While it may be generally true that a
diffusion system cannot deliver the same contrast level as a good condenser
system, it is a fact that the V35/Focotar combination delivers such a high
contrast level that a condenser system without a point light source would
hardly be an improvement.
Another critical point often
raised concerns the use of Styrofoam in the mixing chamber of an enlarger that
lists for almost $2000. The reasons are
quite valid. With the use of high
precision injection molding, the shape of the chamber can be maintained within
very close tolerances. That, combined
with the very high reflectivity of the material, produces the very high light
output of the enlarger.
The foam also has excellent
thermal properties. Heat buildup at the
negative stage, even after prolonged use, is negligible. So why not use Styrofoam? Maybe it all wouldn’t sound so bad if we
refer to it as polyalkene.
Other advantages of the
enlarger cannot be shown in numbers, they have to be experienced. In terms of ease of use there is nothing
close to the V35. Every knob and
adjustment is within arm’s reach. The f/stop
illumination can easily be seen, the f/stop scale can be adjusted to the best
working position. Everything works with
the proverbial Leica smoothness and precision, which is something few other
manufacturers could make claim for.
The list of fine points goes
on: the feet under the baseboard are high enough to put a 100 sheet box of paper
beneath, and they are positioned such that in spite of the oversized baseboard,
the enlarger will still fit an average size enlarging table. These baseboard dimension are necessary
because the V35 is one of the few enlarger’s which allow a 16 x 20 enlargement
on the baseboard – with autofocus.
The negative carrier can be
depressurized from either side. The
enlarger head can be swung around to make oversized prints, and does not have
to be counterweighted. The clickstops of
the Focotar can be deactivated, allowing infinitely variable aperture
adjustments to accommodate the use of color analyzers. The negative can be masked from all four
sides with four easily accessible knurled knobs in the front of the enlarger.
Wiring is internal. There is not the usual clutter of wires and
hookups on the outside of the enlarger.
For that matter, the overall styling contributes to the functionality of
the enlarger, and the V35 looks like no other ever marketed.
This brings us to the color
filtration of the V35. Unlike any other
enlarger, the V35 does not have a color head as an accessory. Instead it has only a filter module. The entire illumination system is shared by
both black and white and color printing, and only the color filters need to be
added. The greatest versatility is
gained with the color filter module. Not
only does it offer filtration for color printing, the color filters can also be
used to change contrast levels with variable contrast paper. For individuals not interested in color printing
at all, there is also a variable
contrast module which allows infinitely adjustable contrast levels with
variable contrast papers.
V35 color module
Please note: the variable contrast module is very
similar, except it has only one knob for the contrast adjustment
Filtration of all three
colors for color printing goes up to the rather high values of 200 units. The dials are illuminated and easily read (as
are the dials of the variable contrast module).
A while light switch allows the removal and instant return of the
filters to their preset values. This is
nothing new or really different, but it again works with Leica precision, and
in combination with the V35 the capabilities of the dichroic filtration system
are certainly maximized.
The general finish and design
of the V35 shows extensive input from the designer as well as the
manufacturer. In comparison, other
enlargers are crudely put together. The finish
is rough, virtually screaming of mass production.
Even little things like lens
boards that require lens retaining rings, or square lens boeads that make it
impossible to adjust the viewing angle of the aperture scale, these things too show
lack of thought in terms of functionality and further amplify the incredible finesse of the V35.
Finally, let’s look at the
40mm WA Focotar. Again a quote from the
test in Modern Photography: “Using a 40mm instead of the usual 50mm lens
traditional on 35mm enlargers means a larger image for equal paper or negative
distance. The lens proved to be an
outstanding performer. It was at its
best at f/5.6 where it provided a degree of crispness, corner to corner
sharpness, and illumination evenness that was exemplary. Prints had superb overall quality with the
high color saturation characteristic of high optical quality. This is a lens that matches the quality of
the enlarger it is fitted to. It was
even usable at f/2.8. In fact, it is the
closest thing to our test apochromat that we have ever seen.”
IN FOCUS
a book by John Holts, Harper & Row
I usually don't accompany articles with a commentary, but this one is very fitting. I came across this book quite some time ago. Part of which deals with the purchase of an enlarger. Mr. Holtz starts out by saying that it does not make sense to have the very best in cameras and lenses if one makes prints on a cheap enlarger. That is good advise.
But a bit further on things get rather confusing. After recommending an enlarger able to accommodate various negative sizes, Mr. Holtz goes on saying: ..."the only reason beyond your budget...are the discontinued Leitz Valoy and Focomat enlargers... These 35mm format machines provide a kind of silvery long scale black and white print gradation that other sources can't match. Neither the bigger Leitz Focomat II series machines...or the stylish, but almost useless Focomat V35 can produce prints as good."
Apparently, Mr. Holtz does not like diffusion enlargers. While I agree with his general comment of diffusion enlargers giving a softer image than comparable condensor equipped counterparts, I most profoundly disagree with him in regard to his comment about the V35. Generalizations like "almost useless" do not have any place in a book that is supposed to be written to help people gain knowledge about certain products.
It is obvious that Mr. Holtz either has never tried the V35, or he does not exactly know what he is talking about. While he is right that the V35 is a diffusion enlarger, it certainly does not have to fear comparison to the older Focomat Ic enlarger.. If there is a loss in crispness, tonality or any other aspect, it certainly does not show.
I have used both of these enlargers and compared to the Focomat Ic, the V35 is superior in most any respect. It should be obvious that the engineers at Leitz were well aware of the shortcomings of conventional diffusion systems. But by optimizing the system as used in the V35, such fears are totally unfounded, and comments like those by Mr. Holtz are utterly out of place.
Had he raised the question about whether the V35 might not be even better in performance with a condenser system like in the Focomat Ic, he would have given grounds for a sensible discussion, but "almost useless"...
I can't help wondering what terminology he might have used in regard to some enlargers that are way behind the V35 in terms of quality and performance.
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Excellent article. It definitely got me thinking about dusting off my V35 and to use it again. I wonder how its results compare to scanned negatives with the results perfected in Photoshop or Lightroom?
ReplyDeleteThat is a very good question. I have prints made on the V35, even relatively large ones like 16 x 20. I also have prints made from the same negatives after they were scanned and then run through Photoshop and printed. A close comparison reveals that the V35 has an edge. However, these negatives were scanned and printed almost 20 years ago. Since then scanners and printers have substantially increase in quality and capability. I would not be surprised if these negatives, if scanned with a modern, high quality scanner and then printed on a professional quality Epson printer would not render results equal to the V35.
DeleteThe capabilities of the V35, combined with photos taken with a Leica on fine grain film was clearly shown on an enlargement I made from just a very small portion of the negative. I took a tight head shot of a model and then enlarged just the small, lower eyebrows to a 16 times enlargement. The print showed detail so small that it didn't show up on a fiull frame 16 x 20 enlargement. Careful measurements revealed that The very fine eye lashes had an approximate
Diameter of 0.007mm (0.00028 inch) on the negative which translates to a resolution of over 140 lpm (lines per millimeter) on the enlargement which means that the on-film resolution was even higher.
You can see these results at: http://gmpphoto.blogspot.com/2012/02/film-verses-digital.html
Isn't there some rule of thumb which states that in an enlargement you lose at least 25 percent of the resolution of the negative? Based on that, the resolution of the negative you mention above would have to have been 175 lpm or more.
DeleteWhat lens was it that rendered those incredible results?
ReplyDeleteIt was a 50mm f/2 Dual Range Summicron on a Leica M3, using Agfapan APX 25, developed in Agfa Rodinal 1:100 for 16 minutes with continuous (rotary drum) agitation.
DeleteWhat rotary drum system did you use?
ReplyDeleteI used Jobo developing tanks on a Beseler color agitator. It had the advantage of not only rocking the drum slightly from side to side, it also would reverse the rotational direction after about 2 1/2 revolutions. This rendered by far the most accurate and even agitation. However, keep in mind that the developing times need to be shortened with continuous agitation.
ReplyDeleteDoesn't stand development render equally evenly developed results?
ReplyDeleteI have never used stand development for myself, but from what I understand, that is definitely the case. However, it does take a lot longer.
DeleteWas the old Agfapan APX 25 the highest resolving film?
ReplyDeleteNo, that credit must be given to the Kodak High Contrast Copy Film. It would resolve in excess of 300 lpm. However, since the film was designed as a high contrast film, essentially rendering just black and white, no grey tones, it did require special developer(s). While these generally did render quite acceptable results, the negatives were in most cases still quite contrasty which definitely rendered less than ideal results when shot under contrasty lighting conditions. Fro that reason I consider the Agfapan APX 25 the best black and white film of its days.
ReplyDeleteThe highest resolution, when combined with special developers, were obtained with some special films from Kodak and Agfa. They were used by the US Navy for their high resolution 35mm system which consisted of Leicaflex cameras and the 35mm Summicron-R and three specially developed ELCAN lenses, one of which later became available as the 180mm f.3.4 Apo Telyt-R. These films rendered resolution levels of 550 and 600 lpm.
Can digital photography achieve that kind of resolution?
DeleteNo. A digital sensor can at best show detail as small as the individual pixels. 600 lpm would require a sensor with a resolution of over 300 megapixel.
ReplyDeleteI am definitely dusting off my V35.
ReplyDeleteAny recommendation of films?
ReplyDeleteSince I shoot only digital, I am not the best person to ask this question. The closest to the Agfapan APX 25, as a matter of fact, I considered it equal, was the Efke 25. These films were essentially the same as the old ADOX KB 14 films. These films, unfortunately are no longer available either, but lately there hare some very good films available under the Rollei label. If my memory serves me correctly, these too are based on the old ADOX emulsion technology. Just in general, if optimum resolution is what you are after, go with the lowest film speeds you can find. Unfortunately, I don't think anyone makes a 25 speed film at the moment. That leaves you to go with the ISO 50 Ilford Pan F, if you can find it, or a variety of ISO 100 films, which do include Rollei.
DeleteDo you have any more information on the Navy high resolution 35mm Leica system?
ReplyDeleteYes, I do. I wrote a lengthy article about the manufacture and performance of photographic lenses, which covers just about everything necessary to make a camera system as good as possible. This also included a lot of information about the Navy high resolution 35mm system. go to: http://gmpphoto.blogspot.com/2013/12/leica-lenses-what-gives-them-their.html
DeleteDear Heinz,
ReplyDeleteThank you for this very informative article. I was recently gifted this exact enlarger. Do you have a simple diagram of how the three electronic components are set up properly? I refer to where the power cords go and in what order the components are connected. Thank you in advance for your generous time and expertise.
kind regards
Matthew.
mns335@gmail.com
Hello Matthew,
ReplyDeleteUnfortunately I do not have any diagrams of the enlarger at all. My suggestion is to contact Leica directly at:
Leica Camera Inc.
1 Pearl Ct, Unit A
Allendale, New Jersey 07401
Phone: 800 222 0118
Fax: 201 995 1686
E-Mail: technicalinfo@leicacamerausa.com
or at their service department at the same address
Leica Camera Inc. Repair Department
E-Mail: repair@leicacamerausa.com
Thanks for your very interesting article. Especially the details about the Focotar proved as helpful, as I was considering using this lens in a different enlarger - which I now won't
ReplyDelete