ENLARGING EASEL FOR 20x16

By Bill Wilson (Area 22)

The two most popular sizes of negatives are the 35mm and the 120 with other sizes that come between these two. The definition and grain of these sizes has always been one of contention. The reason for mentioning these facts are, they control the final picture quality in the print. from Pc’s to 20x16’s.        

The usual size for submission to the Press is 10x8, which is a piece of cake with the 35mm, for exhibition with a good lens 16x12 is pushing it a bit. But to take it to 20x16, your test print brings you down to earth with a bump. To make a print this size is daunting at first, especially when the cost is worked out.        

But when you think of how to hold down a sheet that big, will your worktable be big enough, or will the enlarger go up the column high enough, the position of. the safe light in the right place, and have you enough space for more than 3 developing dishes in line, each larger than 20x16.        

The important thing is to keep your paper flat during the enlarged exposure. Enlarging easels of this size are very expensive, the four blade costing more than the two blades, the price running into three figures. So why not make your own. Smaller easels can be made by reducing the sizes proportionately.        

The following are required: Some knowledge or carpentry is required, or find somebody to do it for you. As certain parts are glued together by Evostik resin Wsmall iron clamps are needed to hold it in position till it sets. Matt black paint, Medium glass paper, a pair of brass hinges  6” long x 1.5/8 wide These are cut from a length of Piano hinge. Each hinge must be fastened with four bolts with washers and nuts, 5mm diameter. 

Prepare the baseboard which consists of hardboard 23.1/4 x 19.1/k xl/8 To the rough side glue a frame flush to each side, preferably made from hardwood from stock 13/8 x 3/4. No screws or nails are used. Evostik resin W and then G/ clamped till it sets 6-8 hours. Use lap joints. BE accurate. The inner frame and guide rails are made from stock 20rnmx10mm. This is available from B&Q in 2 meter lengths, a close grained hardwood.        

On the smooth side of the baseboard are glued the guide rails, one on each of the shorter sides, one on top of the long side, and the other at the bottom long side, all are flush to the baseboard edge. See fig. 2 for sizes shown shaded. Using the same stock 20x10mm make a frame to fit flush to the inside of the four guide rails. When in position inside the guide rails, mark off and fit the two piano hinges using bolts nuts and washers passing through the baseboard and flush to the bottom, with nuts to the top of the hinges, 2 bolts to each hinge, through the b/board and 2 bolts of each hinge through the inner frame flush to the under-side. It would be wise to first make the inner frame from 20x10’rnm stock, using half lap joints glued with Evostik resin Wand G/clamps. The frame must be dead square. 

Position it on the B/board with the guide rails flush to the four sides, use G/clamps to hold in position temporarily while each guide rail is glued in position. For a good finish the outer edges of the baseboard and guide rails may be smooth planed and glass papered. 

Finger grips to the right and left at the bottom of the inner frame may now be glued on and clamped. Two pieces 2~-x1x* Now smooth everything over and give it a coating of matt black paint. Lift up the frame and place a sheet of 20x16 paper, centering it on the B/board for your margin. Mark guidelines in fine white lines for the paper. Your safe light will guide you on this.     

Before you splash out on a whole sheet of 20x16, make sure of first making a test piece. Both my easels 20x1.6 and 16x12 enable me to work quickly and accurately, with four edges of the paper firmly held down flat. You may trim the narrow border away or retain it, when mounting.      

I have a number of 20x.16 Prints from 120 negs, taken at Gavarnie a small village at the foot of the Pyrenees, and they are worth all the effort I put into then.

   

        

Editorial

CRCMain