I’ve been using both the Focomat 1C and 2C exclusively for the past year and while it took some getting used to after all my years working with the DeVere and its color head, I am happy to say that while different and in some ways more of an effort to work with I am quite pleased with the results. So I thought it was time to discuss my “user experience with these overbuilt photo-mechanical wonders. My mode of operation thus far has been to use the 2C exclusively for medium format enlarging, leaving the IC for its intended application as a dedicated 35mm enlarger. This arrangement has made sense given its legendary 50mm Focotar 2 lens.
This week I will discuss the Focomat 2C. Mine came equipped with the wonderful 100mm Focotar 2 f5.6 lens. Apparently only 2800 of these fine lens were made so I’m lucky to own one, especially since they can be quite pricy if you find one for sale. Of course, the whole enlarger is expensive, especially if you have a late grey model like the one I was able to snag. Same thing, with its little brother, a late grey 1C. But as previously discussed, when the opportunity presented itself I couldn’t resist the chance to get them both!
My first enlargers were Omegas with condensers, but I’ve been a user of cold lights (Beseler) dedicated cold light enlargers (Zone VI), and color diffusion enlargers (DeVere) most of my photographic life. According to my copy of The Leica Manual and Data Book, published in 1956, there are drawbacks to both condenser diffusion type enlargers. The authors state that “the Leica enlargers are a composite of both types; they utilize a defused light source consisting of an opal enlarger lamp in combination with a single plano-convex condenser. The resulting machine has the advantages types and the faults on neither. Prints are definitely more snappy than those made on a pure diffusion enlarger, and “normal” grades of paper can be used, even with the low-gamma miniature negatives. The condenser used in conjunction with the diffused light source increases the efficiency of the system so that exposures are conveniently short; but because a diffused light is used with the condenser, it need not be adjusted for different degrees of magnification. Graininess and dust are not brought out to an objectionable degree with the Leica enlargers, yest detail and sharpness are maintained.”
Ok, so what about my experience with the 2C so far? I think there is definitely something to be said about the above. I really do love the prints made from my medium format negatives. Overall the Focomat prints look crisper and perhaps a little clearer if that is possible compared to those made with the DeVere with color head, while not exhibiting any of the harshness of those made with typical condenser enlargers. And while all so far have been from 6×7 negatives there is the capability to easily make prints from any medium format negative size by simply switching a mask in the beautiful and robust two piece glass negative carrier. The carrier can also be used for 35mm negatives with a 35mm mask. I absolutely love the carrier and it is better built than my DeVere glass carrier. I also have the gorgeous and rare dedicated 35mm single surface glass carrier. So if I ever decide that I want to try out 35mm negatives with this enlarger and its 60mm Focotar lens I have a choice of carriers! And by the way, both lenses are permanently mounted a lens stage that slides beautifully from left to right under the light path for quick and easy switching between formats!
Dust is not an issue, especially since I use my Zone VI antistatic brush religiously on both the negative and all four glass surfaces. To be honest, I think dust is more of an issue with negatives than with glass. But you know what, it is all worth the effort because the prints are beautiful! And once autofocus is set up, focusing the enlarger is a dream. Why? Because you never need to worry about focusing again! For the longest time I kept double checking with my grain magnifier even though everything was spot on. Now I don’t bother. I just choose the size of my image and I’m ready to print! Using the enlarger, I feel like I do when I’m out there with my M3 or M2 … it’s overbuilt, ingenious and precise. In short a joy to use and there’s a real pride of ownership. Yes I’m a gearhead, but believe me it’s true!
The big difference for me has been the change from the utter ease of using the DeVere color head with my Zone VI digital exposure compensating exposure timer to using Ilford Multigrade filters with a first generation Zone VI solid state timer that lacks exposure compensation (Note: both timers have built in dry down compensation features). The good news is that Ilford filters are speed matched from grade 0 to 3.5. According to Ilford “multigrade filters are numbered 00–5 in ½ step increments with the lowest filter number corresponding to the softest contrast. They are easy to use with no complicated calculations required when changing from one filter to another – the exposure time for filters 00–3½ is the same which then simply doubles for filters 4–5.” Because I rarely if ever use high contrast filtration, this means I’m pretty much able to get all of the benefits of using my Zone VI exposure compensating development timer with the DeVere color head. Yet there’s still a difference. With the DeVere I could easily dial in the most minute contrast changes. With the 2C and Multigrade filters I don’t have this degree of control. That having been said, I am able to get less then ½ step increments of contrast by using development techniques I haven’t tried since my graded paper days. For example, when developing my prints I can get greater contrast by vigorous agitation and less contrast by not agitating at all. Oh and one other word about using the filters. My enlarger comes with the filter tray between the condenser and lens. As a special touch when you wish to remove the filter from the tray, there is a tab you push down and the filter pops up for easy removal. Those Wetzlar elves thought of everything!
Yes, notwithstanding the autofocus that truly is the bee’s knees, the 2C takes a little bit more effort to use. But I don’t really feel like it does and I seem to enjoy the process more!
All of this having been said, I have begun toying with the possibility of getting a dedicated color head made by Kienzle that works with the existing condensers and is said by the manufacturer not to change the look of the print. The only way I would do it would be if I fully felt comfortable with Kienzle’s claim and I could somehow use my Zone VI exposure compensating timer with it. In other words, a bit of a leap of faith and I would have to be able to place the thermistor in the light path in such a way that it could “see” changes in filtration. If both these issues could be dealt with would this stupendous enlarger become the ULTIMATE enlarger?
Stay well,
Michael