Omega C760 User manual

Modular
Dichroic and
Universal
Vari/Con™
Diffusion
Lamphouse
Systems
Instruction Manual

Important Safeguards
When
using
your
Omega
photographic
products,
basic
safety
precautions
should
always
be
taken,
including
the
following:
1. Read and understand all instructions provided
with this product.
2.
Close
supervision
is
necessary
when
this
product
is
used
by
or
near
children.
Do
not
leave
it
unattended
while
it
is
plugged
into
an
outlet.
3.
Avoid
touching
the
lamp
area
of
enlargers
or
other
hot
parts
as
it
may
cause
burns.
4.
Do
not
operate
this
product
if
the
power
supply
cord
has
been
damaged
or
if
the
product
has
been
dropped
or
damaged.
Have
it
checked
out
and
repaired,
if
necessary,
by
a
qualified
service
person
before
using.
5.
Route
the
power
supply
cord
away
from
hot
areas.
Do
not
let
the
cord
hang
over
a
counter
edge
or
across
an
open
area
where
people
pass.
6.
If
an
extension
cord
is
necessary,
use
one
with
a
suitable
rating.
Cords
rated
for
less
amperage
than
the
product
may
overheat.
Route
the
exten-
sion cord away from open areas where it may be
tripped over or pulled.
7. Always unplug the product after use. Grasp the
plug and firmly pull from the outlet to discon-
nect. Never yank the cord from the outlet.
8. Allow the product to cool to room temperature
before storing. Wrap the power cord loosely
around the product.
9.
Do
not
immerse
this
product
in
water
or
other
liquids.
10.
To
reduce
the
risk
of
electric
shocks,
do
not
at-
tempt
to
disassemble
or
repair
this
product.
Always
have
it
serviced
by
qualified
service
per-
sonnel
when
necessary.
Incorrect
reassembly
can
cause
electric
shock
hazards.
These
safeguards
are
prescribed
by
Underwriters
Laboratories
to
be
included
in
this
instruction
manual
for
U.L.
listed
SAVE
THESE
INSTRUCTIONS
products.
Contents
1.
Technical
Specifications
............-.++eeeee-
2
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IAtKOGUCEOMusicicisrsiscete
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otoheleca
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>
3
3.
Unpacking
Your
C760
Dichroic
Lamphouse
.......
4
4.
Assembly
and
Installation
.............-+2++0+s
6
a. Using the C760 Lamphouse with the
C760 Enlarger
b. Using the C760 Lamphouse with C700,
B600 and Concept Six Enlargers
c. Using the C760 Lamphouse with B66
and B22 Enlargers
d. Using the C760 Lamphouse with
C67 Enlargers
5.
Electrical
Connections
...........-.+seseeeees
11
a. Timers
b. Voltage Stabilizer
Interchangeable
Mixing
Chambers
............--
12
Using
the
Light
Attenuators
.........-...-..-+-
12
White
EightiGontrol
ccc.
oe
ee
crkerstaie
ws
a
ialeters
12
GolorBrin
liner
nts
=
oo
ars...
2e
cic
ceric
eters
nin
etere
rs
13
. Setting Filtration
. Making Your First Color Print
. Using a Color Analyzer
. Exposure Compensation
. Light Attenuator
Filtration and Exposure Time
. Exposure Time with the CS-50
Auto Exposure Controller
Cio
Q>ona00M
10.
Black
and
White
Printing
.........---+e
eens
14
a.
Printing
by
Diffused
Light
b.
Using
Variable
Contrast
Papers
c.
Your
First
Black
and
White
Print
11.
Copy
Camera
Attachment
and
Slide
Copying
....16
12.
Lamp
Replacement
........------
ses
ee
eeeeeee
16
13.
Glossary
of
Color
Printing
Terms
..........++..
17
14.
Recommended
Reading
......-..-.+e
sere
renee
18
Technical
Specifications
Dichroic Lamphouse
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ote
120VAC,
60
Hz.
ieee
coc
85W/82V,
Pre-focused
Quartz-Halogen
(Cat.
No.
471-400)
Dichroic
Filtration
Range.
.
.
.0-200CC,
C,M,Y,
Fade-free
Diffusion Lamphouse
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120VAC,
60
Hz.
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Pre-focused
Quartz
Halogen
(Cat.
No.
471-400)

introduction
Your Super Chromega C760 Dichroic or C760 Universal Vari/Con™ Diffusion Lamphouses provide features and advan-
tages which make it superior to any similar unit now available. To help you take maximum advantage of these
features, they are described briefly in this section. The numbers in parenthesis refer to pages in this Instruction
Manual on which these features and their applications are discussed in detail.
Thank you for selecting the Omega C760 Lamphouse.
Your C760 Lamphouse provides an extremely
versatile, high-output illumination system for your
Omega medium-format enlarger. Its many advanced
features give you the ability to produce finer prints in
color and in black-and-white quickly, consistently and
easily. You can even use your C760 Dichroic
Lamphouse as a light box for duplicating color slides.
Like every Omega product your C760 Lamphouse is
built to traditional Omega standards of quality and
performance. This means the finest materials,
meticulous workmanship and a design that is “human
engineered” for efficient, comfortable operation. Your
C760 Lamphouse should give you many years of
trouble-free service.
In order to get the best results from your C760
Lamphouse, read through this Instruction Manual
before using the lamphouse or installing it on your
enlarger.
If you have any questions or problems with this, or
with any Omega equipment, write to us for
assistance. And, if you have any comments or
suggestions, let us hear from you. You can write to
Customer Service.
In U.S.A.:
Berkey Marketing Companies
P.O. Box 1102
Woodside, NY 11377
or
Berkey Marketing Companies
3400 East 70th Street
Long Beach, CA 90805
In Canada:
Berkey Photo (Canada) Ltd.
70 Floral Parkway
Toronto, Canada M6L2C1
In Denmark:
Berkey Technical A/S Denmark
160 Vangedevej
2860 Soeborg
Copenhagen, Denmark
(Copenhagen) 69 61 11
Finally, because Omega is dedicated to a policy of
continuous product improvement and review,
specifications may change without notice.
Good luck and good printing.
FEATURES OF THE OMEGA C760 DICHROIC AND
DIFFUSION LAMPHOUSES
Versatile
In keeping with Omega’s traditional policy of non-
obsolescence, your C760 Lamphouse can be used on
a wide range of medium-format Omega enlargers,
both current and eariler models. Your C760
Lamphouse can be used with C760, C700, B600,
Concept Six, B66, B22 or C67 enlarger. The only
requirement is suitable mounting hardware. This
means that even if you change enlarger chassis later
on, you can still use your C760 Lamphouse simply by
getting the appropriate hardware (Page 5).
Expanded Filtration Range (Dichroic Lamphouse Only)
The filtration range of the C760 Dichroic Lamphouse
is from 0 to 200CC, using special, non-fading dichroic
glass filters which produce remarkably “pure” colors
in cyan, magenta and yellow. Extremely accurate
color settings are obtained permitting consistent and
precisely repeatable color filtration. (Page 13)
Even Illumination
By using a specially designed, pre-focused 85-watt
Quartz Halogen Lamp with integral reflector and a
scientifically designed mixing chamber with
interchangeable tapered diffusers, your C760
Lamphouse provides exceptionally even illumination
on your baseboard. This means that print densities at
the center of the image and at the corners will be
almost the same. (Page 12)
High Light Output
The efficient design of your C760 Lamphouse means
higher light output for shorter, more convenient
printing times even at extreme magnifications. This
high light output also permits exposures in the
optimum ranges of times, from 5 to 40 seconds, to
minimize the dangers of color shift resulting from
unusually long exposures. The high light output in
conjunction with our reversible girder makes possible
floor projection for mural size prints.
White Light Control (Dichroic Lamphouse Only)
A special white light lever quickly removes the
dichroic filters from the light path without disturbing
the filter settings. This permits accurate focusing and
baseboard composition by white light. An illuminated
jewel indicates that dichroic filters are removed from
the light path. (Page 12)

Special Light Attenuators
To provide more complete control over light output,
interchangeable light attenuators are supplied and
can be used to reduce the light by one, two or three
fistops. This permits using optimum aperture/
exposure time combinations for convenient exposure
or use of creative controls such as dodging and
burning-in. (Page 12)
Attenuators supplied with dichroic lamphouse and
available as an optional accessory (Cat. No. 429-330)
for diffusion lamphouse.
Diffused
Illumination
for
Black-and-White
Printing
Many
of
today’s
outstanding
photographers
prefer
to
use
diffused
light
for
black-and-white
enlargements
rather
than
the
conventional
condenser
illumination.
One
reason
is
that
diffused
light
tends
to
produce
a
full
range
of
subtle
tones
with
great
accuracy.
In
addition,
diffused
light
serves
to
minimize
graininess
and
“supress”
minor
imperfections,
dust
and
scratches
on
the
negative,
greatly
reducing
the
need
for
retouching.
(Page
14)
Built-In Infra-Red and Ultra-Violet Filtration
Both
IR
and
UV
emissions
can
affect
the
color
of
your
final
print
even
though
these
rays
are
invisible.
Your
C760
Lamphouse
filters
out
these
emissions
so
that
the
desired
filtered
light
reaches
the
paper,
resulting
in
more
accurate
control
of
final
print
color.
Built-In Solid State Power Supply
Eliminates the need for external transformer or power
supply. You can simply connect your C760 Lamp-
house to an Omega enlarging timer or to any con-
venient standard 110V 60Hz AC outlet, or 240V 50Hz
outlet depending on unit purchased.*
*Recommended Optional Accessory: For the most
precise, consistent color printing regardless of power
fluctuations, the use of the solid state Voltage
Stabilizer (Cat. No. 403-730) is strongly recommended
for the 110V 60Hz only. The 240V 50Hz units have the
stabilizer built into the lamphouse.
Flow-Through Convection Cooling System
A combination of cooling fins and light-traps provides
convection cooling for greater comfort and for
reduction of heat on the negative, thus helping prevent
negative buckling.
Convertible for Slide Duplication
(Dichroic Lamphouse Only)
By simply inverting your C760 Dichroic Lamphouse on
the baseboard, you have an ideal lightbox with
complete color control for duplicating color sides. You
can use the full range of CC settings for color
correction or to create unusual effects. (Page 16)
Unpacking Your Lamphouse
1. Open the shipping container carefully and gently
remove the contents. Check all items against the
enclosed check list and do not discard any
packing materials until you have accounted for
all components and mounting hardware. Save
the cartons for possible future use: they are
designed to give your equipment maximum
protection during storage and shipment.
2. As noted eariler, your C760 Lamphouse can be
used with all current and recent medium-format
Omega enlargers. The only difference is in the
brackets that are used to attach the lamphouse
to the enlarger chassis. Mounting hardware and
brackets are included for C760, C700, B600 and
Concept Six enlargers. If you are adding a C760
Lamphouse to your present C67, B66 or B22
enlarger, use the appropriate Mounting Kit
described on page 5.
3. If any parts are missing, contact your local
dealer or: Consumer Service at the address
closest to you listed on page 3.

Omega Super Chromega
C760 Dichroic and
C760 Universal Vari/Con™
Diffusion Lamphouses
1. Filtration Control Knobs and Magnified Scales
for Cyan, Magenta and Yellow Filtration
2. Lamphouse Access Cover with Cover Nut
3. Slot for Light Attenuator
4. Light Attenuator (Three are supplied with the
C760 Dichroic Lamphouse Only. Available as op-
tional accessory for diffusion lamphouse. Order
Cat. No. 429-330)
5. Interchangeable Mixing Chambers
6. Interchangeable Tapered Diffusers
. Diffuser Holders
. White Light Lever and Illuminated Jewel In-
dicator Light
. Quartz Halogen Lamp
. Mounting Bracket for C700, B600 and Concept
Six Enlargers
. Glides and Mounting Screws for C760 Enlarger
. Hexagonal Nut
. Wrench
. Adapter for C67 Enlarger. Not supplied with Lamp-
house. Order Cat. No. 429-368
. Adapter Kit for B66 and B22 Enlargers. Not sup-
plied with Lamphouse. Order Cat. No. 429-366
Vari/Con Module. Order Cat. No. 429-376

Assembly and Installation
USING YOUR C760 LAMPHOUSE ON OMEGA C760 ENLARGERS
Note:
The
following
operation
can
be
performed
most
conveniently
by
lowering
the
carriage
to
the
bottom
of
the
girder.
At the rear of the lamphouse are three holes, two on
one
side
and
one
on
the
other
side.
These
holes
are
for
attaching the black grooved glides. There are three
Phillips
head
screws
used
to
attach
the
glides
to
the
lamphouse, using a Phillips screwdriver. Place the
screws into the glides with the grooved end closest to
the
head
of
the
screw.
Screw
each
glide
into
place
in
the rear of the lamphouse. Tighten the screws to make
sure
the
glides
are
securely
fastened
to
the
lamphouse.
Mount
the
four
locking
screws
supplied
with
the
C760
Chassis
onto
the
lamphouse
mounting
plate
from
the
rear,
making
sure
not
to
extend
them
beyond
the
mounting
plate.
Place the lamphouse on the Film and Lens Stage
Module
so
that
the
glides
fit
into
the
corresponding
key-shaped
openings
on
the
mounting
plate.
When
the
lamphouse
is
in
position,
tighten
the
locking
screws
until
they
make
contact
with
the
rear
of
the
lamp-
house.
Note:
Refer
to
alignment
section
of
your
C760
Enlarger
Instruction
Manual
for
use
of
these
locking
screws for optical alignment.
USING
YOUR
C760
LAMPHOUSE
ON
OMEGA
C700,
B600,
AND
CONCEPT
SIX
ENLARGERS
Note:
The
following
operations
can
be
performed
most
conveniently
if
you
set
your
enlarger
on
the
floor
orona
low
table
so
that
the
top
of
the
girder
is
just
about
at
chest
level.
When
the
enlarger
carriage
is
at
a
convenient
height,
tighten
the
carriage
lock
knob
to
lock
the
carriage
in
position.
(If
you
purchased
your
C760
Lamphouse
as
original
equipment
with
enlarger,
start
at
Step
“4”
instead
of
Step
‘‘1’’.)
1. Before starting, make sure that all power cords
are unplugged from timers, voltage stabilizers or
electric outlets.
2. To replace an existing condenser lamphouse,
unscrew the four slotted screws which attach
the lamphouse to the carriage and lifting lever.
Carefully remove and store the lamphouse and
all of its parts for possible future use. KEEP THE
FOUR SLOTTED SCREWS as they will be needed
to attach the C760 Dichroic Lamphouse.
3. To replace an older Dichroic Lamphouse,
carefully remove the Phillips head screws and
lamphouse retainers as they will be used again.
When ready to mount the C760 Dichroic
Lamphouse, the chassis should look as
illustrated to the right.

4. Take the C700 mounting bracket and attach it to
the rear of the C760 Lamphouse as shown in the
illustration below, using the hexagonal nut and
wrench. Tighten enough to keep the bracket firm.
H
4
. Position the C760 Dichroic Lamphouse (with the
mounting bracket attached) on the film stage of
the enlarger. Make sure the mounting bracket fits
inside the bracket on the enlarger carriage. Line
up the four screw holes and reinsert the slotted
mounting screws.
When correctly installed, the enlarger with the
C760 Dichroic Lamphouse should look like the il-
lustration below.
. In order to provide even illumination over the en-
tire negative area, and to minimize light leakage
around the negative stage, you must align the
lamphouse.
7. To align the lamphouse, attach the lamphouse
to a power source — either a timer, a voltage
stabilizer or directly into the AC line. Pull the
lamphouse lifting lever of the enlarger forward to
raise the lamphouse and insert a film carrier of
the largest size negative you will be using into
the enlarger. Lower the lamphouse lifting lever
so that the lamphouse rests on the film stage.
8. Loosen the hexagonal nut on the mounting
bracket slightly and adjust the C760 Lamphouse
so that the light seals at the bottom make
contact with the film carrier. The edges of the
film carrier should be square within the light
seal as shown in illustration below.
9. When the lamphouse is correctly aligned, you
should not be able to see any significant light
leakage between the lamphouse and the film
carrier. At this point, tighten the hexagonal nut
to secure the lamphouse. Switch off the power.
Your C760 Lamphouse is ready for use.

USING YOUR C760 LAMPHOUSE WITH OMEGA B66 OR OMEGA B22 ENLARGERS
Note: The following operations can be performed most conveniently if you set your enlarger on the floor or ona
low table so that the top of the girder is about chest level. When the enlarger carriage is at a convenient height,
tighten the carriage locking knob to lock the carriage in position.
1. Disconnect all power cords before starting.
2. Remove the existing condenser lamphouse from
your enlarger chassis following the instructions
given in the instruction manual for your par- :
ticular model. Be careful with condenser lenses H
and enlarging bulbs to avoid damage or breaking.
Store all parts carefully for possible future use.
Press
the
C760
Lamphouse
into
position
so
that
,
the
mounting
arms
clear
the
Phillips
head
3.
Attach
the
B66/B22
mounting
bracket
to
the
rear
Screws.
hed
the
lamphouse
is
eanectiy
posi-
of
the
C760
Lamphouse
as
shown,
using
the
tioned,
the
screws
should
be
within
the
oval
hexagonal
nut
and
wrench.
Tighten
enough
to
cutouts
of
the
mounting
arm,
as
shown.
keep the bracket from moving.
i
BS
4. Position the C760 Lamphouse with the mounting
bracket attached in the approximately correct
position on the film stage of the enlarger. Then,
spread the mounting arms slightly so that they
slide over the Phillips head screws at the top of
the carriage side plates. You will have to exert
some force to spread the arms sufficiently to
clear the heads of the screws.

5. Install the right side mounting hardware (right 7. Repeat the operation described in Step ‘5” on
side when you are facing the enlarger) which the LEFT side of the lamphouse.
consists of a knurled screw and a black plastic
tab mounting bushing. Secure the hardware but 8. To align the lamphouse, place a film carrier for
DO NOT TIGHTEN. the largest size negative you will be using on the
film stage of the enlarger. Proper alignment en-
sures even illumination.
6. Position the enlarger lifting arm lever on the left
side and use the slotted screw, star washer, and
flat washer in combination to make up the lifting
arm adjustment assembly. The star washer
should go next to the arm, followed by the flat
washer and then by the slotted screw.
Install the screws in the tapped hole at the front
end of the lamphouse mounting arm. Secure but
DO NOT TIGHTEN. Then move the lifting arm so
that the lifting lever screw is approximately in
the center of the oval cutout on the arm. Now
tighten this screw. This adjustment controls the
amount of lamphouse lift and can be changed
later if desired. 9. Attach the lamphouse power cord to an Omega
timer or directly into the a standard AC outlet. If
the C760 Lamphouse is attached to a timer, turn
on the switch. If the lamphouse is connected
directly to an AC outlet, it will go on
automatically.
10. Position your C760 Lamphouse so that the light
seal at the bottom comes in contact with the
film carrier squarely. Once the lamphouse is in
its correct position, simply tighten the hexagonal
nut and all of the positioning screws on the lifting
lever arm. Turn off the power.
11. Finally, you might want to check the alignment
of your enlarger’s film carrier stage, lens stage
and baseboard. All of these stages should be
completely parallel. For precise determination of
alignment, Omega provides a special Enlarger
Alignment Too! (Cat. No. 479-027) which is
both simple to use and precise. For more infor-
mation, contact your local dealer or Consumer
Service, Omega, Woodside, New York 11377.

USING YOUR C760 LAMPHOUSE ON
OMEGA C67 ENLARGERS
1. Disconnect all power cords.
2. Depress the enlarger lamphouse lifting lever
until it locks into place, thus raising the
lamphouse.
3. Remove the power cord from the clip at the rear
of the enlarger carriage. Slide off the condenser
lamphouse by lifting the entire unit until it clears
the slots at the front of the enlarger carriage.
Store the condenser lamphouse and all parts
carefully for possible future use.
4. Attach the C67 mounting bracket to the rear of
the lamphouse making sure that the bottom edge
of the bracket contacts the bottom lip of the lamp
house. Tighten securely using the hexagonal nut.
10
5. Holding the C760 Dichroic Lamphouse by the
side plates, slide the grooved square guides into
the slots at the front of the carriage, gently
pushing the lamphouse down until it comes to a
complete stop.
Raise the lamphouse lifting lever to lower the
C760 Lamphouse so that it now rests on the
negative stage. Slip the power cord from the
lamphouse under the clip at the rear of the
enlarger carriage.
. Your C760 Lamphouse should now be in position
for alignment. Take a film carrier of the largest size
negative you will be using and slide it into the
negative stage.
. Connect the power cord of the C760 Lamphouse
to an Omega Timer or directly into a standard
AC outlet. If you are plugged into a timer, turn
on the timer switch. If you are plugged into an
outlet directly, the lamphouse will automatically
go on.
. In order to ensure even illumination you must
align the lamphouse.
Position the lamphouse so that the light seals at
the bottom are squarely in contact with the film
carrier. When your C760 Lamphouse is correctly
positioned, you should not be able to see any
significant light leakage between the lamphouse
and the film carrier.
Once the lamphouse is properly aligned, tighten
the nut holding the mounting bracket (using the
open-end wrench supplied for that purpose) to
maintain the lamphouse in the correct position.

©
10. Finally, you might want to check the alignment of
your enlarger’s film carrier stage, lens stage, and
baseboard. All of these stages should be com-
pletely parallel. For exact determination of align-
ment, Omega provides a special Enlarger Align-
ment Tool (Cat. No. 479-027) which is both simple
to use and precise. For more information, contact
your local dealer or Consumer Service, Omega,
Woodside, New York 11377.
Electrical Connections
A. Timers
While your C760 Lamphouse can be plugged directly
into a standard AC outlet because of its built-in solid
state power supply, the use of an Omega timer is
strongly recommended. A precision timer provides
accurate exposure control and consistent timing, two
essentials for producing high-quality prints in either
color or black-and-white.
The enclosed literature will provide details on current
Omega timers together with a guide for selecting the
timer model which best fits your needs. if your C760
Lamphouse is used with a Concept Six CS50 Enlarger,
the timer and auto exposure controller are
incorporated into the baseboard and there is no need
for an auxiliary timer.
B. Voltage Stabilization
Shifting demands for energy can cause power line
fluctuations. These fluctuations change the voltage
delivered to your equipment, and can have serious
adverse effects on your exposures and on the color of
your prints. Such random variations make the
production of good prints all but impossible.
To avoid the effects of fluctuating power, we strongly
recommend the use of the Omega C760 Voltage
Stabilizer (Cat. No. 403-730). for 110V, 60Hz
lamphouses. The stabilizer automatically compensates
for fluctuations in line voltage to ensure aconstant and
correct supply of power to your enlarger.
When using the voltage stabilizer, the power cord of
your C760 Lamphouse must be plugged directly into
the voltage stabilizer which is, in turn, connected
either to a timer or to the AC outlet.
THE OMEGA C760 VOLTAGE STABILIZER IS THE
ONLY STABILIZER RECOMMENDED FOR USE WITH
THE C760 DICHROIC AND DIFFUSION LAMPHOUSES.
The use of other equipment may result in improper
voltage being supplied to the lamphouse.
aa

Interchangeable
Mixing Chambers
The function of the mixing chamber of the C760
Dichroic Lamphouse is to combine the light from any
combination of the three dichroic filters — Cyan,
Magenta, and Yellow — to produce a uniform “mixed”
light of the desired filtration. The mixing chambers for
the diffusion lamphouse serve the same function
when using the optional variable contrast filters
designed for use in the attenuator slot. The light is
then passed through the film (color negative or
transparency or black and white negative) to produce
the exposure on the paper.
Two mixing chambers are supplied with your C760
Dichroic and Diffusion Lamphouses. The first is a
35mm chamber used when printing 35mm and smaller
negatives. The second is a 6x7cm chamber for print-
ing medium-format negatives: 4.5x6cm (1-5/8”x2-1/4”);
6x6cm (2%” square); 6x7cm (2%4”’x2%”’).
C760 Lamphouses use mixing chambers made of a
special polystyrene material that has been found to
provide optimum reflection and diffusion. In addition,
special patented tapered diffusers are used to further
increase the efficiency of the mixing chambers. As a
result, the C760 Lamphouse provides unsurpassed
evenness of illumination and high light output for
conveniently short printing times.
The mixing chambers are somewhat delicate and
should be handled with care, in particular, avoiding
excess pressure on the sides of the chamber. The
C760 Lamphouse comes with the 35mm mixing
chamber and tapered diffuser pre-assembled and
installed in the lamphouse. The 6x7cm chamber is
pre-assembled but packed separately.
To change the mixing chamber, simply unscrew the
metal knurled knob on the top of the lamphouse and
remove the lamphouse cover. Make sure that the
white light lever is in the ‘off’? position and there is
no attenuator in the attenuator slot. This is done by
lifting from the back and tilting the cover plate
slightly forward. The mixing chamber can then be
lifted out and replaced by the alternative size. For
easy insertion, tilt the mixing chamber until it slides
easily into place. The chamber will automatically seat
itself properly for correct alignment. Make sure,
however, that the circular opening of the mixing
chamber through which the light must pass is
correctly positioned facing the quartz halogen lamp. If
the chamber is reversed, the opening will be hidden
and very little light will pass through. Be careful not
to press on the chamber housing too strongly.
12
If desired, additional filters can be added to the inside
of the mixing chamber for special effects.
To remove the tapered diffuser, simply depress the
sides of the mixing chamber just above the diffuser
holder and carefully remove the diffuser from the
holder. When inserting filters, place the tapered
diffuser in the holder upside down so that the filter
rests on a flat surface.
Using the Light Attenuators
There are times when it might be necessary to reduce
the amount of light being transmitted to the paper
without either reducing the lens aperture or shorten-
ing exposure times. In such a case, the C760 Lamp-
house utilizes light attenuators which physically
reduce output.
Three different light attenuators are supplied with the
C760 Dichroic Lamphouse. They are available as an
optional accessory for the C760 Diffusion Lamphouse.
The use of these attenuators does not measurably
affect the filtration, only the amount of light.
The reducing power of the light attenuator is
indicated by the number on the top edge of the unit.
Strengths of the three attenuators are:
EV Indication Transmitted Light
a
50%
(of
normal)
-2 25%
3 12%2%
White Light Control
For ease in focusing and composing your picture on
the baseboard, the C760 Dichroic Lamphouse
incorporates a White Light Lever which removes the
filters from the light path so that only white light is
transmitted.

When the white light is “‘on’’, a jewelled white light
indicator will glow at the front of the lamphouse.
When the white light is “off”, the jewel will be
covered by the handle of the white light lever.
The use of the white light control does not disturb any
original filter settings in any way: once you have
focused and composed your picture with white light,
simply return the white light lever to the “off” posi-
tion; this will automatically restore the original filtra-
tion for making the color print exposure.
The white light control can be used for printing black-
and-white photographs if desired. Or, you can set all
three color filters at ‘0’. A detent ensures that the
filters are kept securely out of the light path, with only
white light being allowed to reach the black-and-white
paper.
Color Printing
Making color prints from either color negatives or
transparencies is relatively easy. The goal of color
printing is to produce a good “‘balanced”’ print — that
is, a print without any overall color cast and in which
colors approximate those of the original image.
(There are, of course, cases when special effects are
desired but even in these cases, the first step is to
determine the filtration for a “normal” print, then
make controlled changes to achieve the desired
results.) .
The steps required to make a good “balanced” print
can vary greatly, due to such factors as type and
processing of color film, brand of film and paper used,
type of paper and surface finish, color chemistry, the
type of enlarger, temperature, and accuracy of
processing times, etc.
However, the basic procedure for making color prints
remains the same. The printing light is filtered
through subtractive primary colors — Cyan, Magenta
and Yellow — using combinations of filters of varying
densities.
The C760 Dichroic Lamphouse is designed to give you
good prints easily, quickly and consistently by
incorporating a high intensity light for short printing
times plus the necessary filters, accurately calibrated
and precisely controlled.
This section is designed to provide a brief
introduction into color printing, not to provide specific
instructions or to serve as a working manual. Several
of the books listed under ‘‘Recommended Reading”
will supply detailed information on the entire process
of color printing.
SETTING FILTRATION
The C760 Dichroic Lamphouse incorporates three
continuously variable dichroic filters — Cyan,
Magenta and Yellow — ranging from 0 (no filtration)
to 200CC (maximum filtration) in one CC increments.
At the “0” setting, the filters are securely held ina
retracted position by detents, permitting only white
light to pass. (This setting can be used for printing
black-and-white although it is recommended that the -
white light lever be used for this purpose). =
To set the desired filtration, merely dial the required
strength and color as indicated on the illuminated
scales.
By using the proper combination of filters (usually two
— magenta and yellow) when printing color negatives,
the proper filtration may be secured to produce a
“balanced” color print.
Under
most
conditions,
only
two
color
filters
are
used
at
one
time
since
using
all
three
colors
will
produce
a
neutral
density
(grey)
effect
which
will
cut
down
on
the
amount
of light,
prolonging
exposure
times
unnecessarily.
When
using
two
filters
for
printing,
the
third
filter
(which
is
usually
Cyan)
should
be
set
at
“0”.
COLOR CORRECTION CHART
RECOMMENDED FILTRATION
Transparencies
Subtract Magenta & Yellow
If Your Print
Is: Too. a
Red Add Magenta & Yellow
Green Subtract Magenta Add Magenta
Blue Subtract Yellow Add Yellow
Cyan Subtract Magenta & Yellow | Add Magenta & Yellow
Magenta Add Magenta Subtract Magenta
Negatives
Yellow Add Yellow Subtract Yellow
Too Dark Close Lens Open Lens
Too Light |Open Lens Close Lens
MAKING YOUR FIRST COLOR PRINT
Since so many different color printing materials are
available, refer to specific instructions packed with
those products for filter recommendations. However,
to assist you in making your first color prints, these”
filtration settings and f/stops are suggested as ap-" —
proximate starting points in producing an 8x10 color —
print, using a standard negative — that is, a negative ©
pe has been correctly exposed and developed nor-
mally.
SUGGESTED SETTINGS FOR FIRST PRINT
Printing Paper |Chemistry
Suggested
Initial Filter | Suggested
Settings fiStop
Kodak | Vericolor Il | 90 Y 45M £18
Kodacolor II | 75 Y 55M 8
13

USING A COLOR ANALYZER
At the beginning and for modest printing
requirements, the ‘‘trial and error” method of
determining exposure and filtration can be used.
However, this method is wasteful of time and
materials. The best way of producing consistently
good color prints is to use an Omega Color Analyzer,
several models of which are described in the enclosed
literature.
The analyzer is, in essence, a mini-computer.
Information is gathered by a probe placed on the
baseboard of your Omega enlarger which “reads” the
print as projected. By suitable adjustment, correct
exposure times and filtration settings can be
determined.
EXPOSURE COMPENSATION
Color papers have three emulsion layers, each
sensitive to a different primary color. The red
sensitive layer is at the top, the green sensitive layer
in the middle, and the blue sensitive layer at the
bottom. These emulsions have different sensitivities
for long and short exposure times which means that
when your exposures are either very long (over 40
seconds) or very short (under 5 seconds) you will get
color shifts. This is an effect due to reciprocity failure
which means that the colors you get on your print will
not be the same colors you would get at a “normal”
exposure time.
To avoid color shift, make your changes in exposure
by opening or closing the lens aperture (f/stop) rather
than by increasing or decreasing your exposure times.
Generally
speaking,
your
exposure
times
should
be
within the 10 to 30 second range for optimum results.
LIGHT ATTENUATOR
A third method of controlling exposure is to reduce
the light reaching your paper through the use of light
attenuators. These attenuators are simply slipped in
or out of the slot at the top of the C760 Lamphouse.
Each attenuator will produce a reduction in light
equal to one, two, or three f/stops.
14
FILTRATION AND EXPOSURE TIME
Because printing filters reduce the amount of light
reaching the paper, your exposures when printing with
filters will be longer than they would be without
filters. The higher the filter value, the longer the
exposure required since the higher values represent
greater densities.
For example, an increase in the density of the
magenta filter by 10 CC, requires an increase in
exposure of about 10 percent. However this increase
is not constant for all three filters: a 10CC increase of
yellow requires an increase of only about two percent.
In actual practice, when you are working with both
yellow and magenta filters, a simultaneous increase
in filter densities by 10 points (i.e., 20Y to 30Y and
from 40 M to 50 M) requires a total increase in
exposure time of about ten percent. This is because
the effect of changes in yellow filtration alone are
usually negligible.
In making exposure adjustments, it is usually
preferable to adjust the lens aperture rather than
exposure time. A useful approximation is to increase
your lens aperture by about half a stop when the
magenta filtration is increased by 45 points (for
example, from 30 M to 75 M) and when there is a 35
point increase in both magenta and yellow filtration
(for example, from 10 Y to 45 Y and from 50 M to 85
M). If you reduce your filtration, then make similar
adjustments but in the opposite direction, decreasing
your lens aperture or shortening your exposure times,
thereby compensating for the increased light reaching
your paper.
EXPOSURE TIME WITH THE CS-50
AUTO EXPOSURE CONTROLLER
The adjustments outlined above can be handled
accurately and consistently by using the Omega
CS-50 Timer and Automatic Exposure Control (Cat.
No. 480-701). With the CS-50 unit, there is no need to
calculate exposure adjustments when changing
filtration, magnification, or lens aperture. The
information on changes is collected using the spot
reading probe and transmitted to the exposure control
unit. The CS-50 unit, in turn, will automatically provide
the correct exposure. It can also be used to determine
proper grade of poly-contrast paper. The unit can be
programmed for repeat exposures for multiple prints
and can be used for both color and black-and-white
printing.
Black and White Printing
NOTE: See instructions with Vari/Con Filter Module.
The C760 Dichroic and Diffusion Lamphouses supply
diffused light for using either graded or variable
contrast papers.
PRINTING BY DIFFUSED LIGHT
Because a black-and-white negative consists of
minute silver particles embedded in a gelatin base,
light passing through this material is not only
absorbed in varying degrees, depending upon the
densities of the negative, but ‘“‘scattered”’ very much
like light shining through a dense fog. Because of this
“scatter” the contrast of a projected image will
depend greatly upon the degree of diffusion of the
light passing through the negative.

With condenser enlargers, where the light is largely
uni-directional, there is relatively less ‘‘scatter’ and,
therefore, a projected image from a condenser
illumination system will have a somewhat higher
contrast. With diffusion enlargers, where the light
tends to be “scattered” before it reaches the black-
and-white negative, contrast of a projected image will
be somewhat lower.
As a general rule, the difference in contrast between
condenser and diffusion illumination, given the same
negative, is equal to about one grade of paper. That is,
the negative will enlarge satisfactorily on a grade 2
paper using a condenser enlarger, and a grade 3
paper when using a diffusion enlarger. This difference
in contrast can be corrected for in the initial processing
of the film.
The mixing chambers for the diffusion lamphouse
serve the same function when using the optional
variable contrast filters designed for use in the
attenuator slot. The light is then passed through the
film (color negative or transparency or black and
white negative) to produce the exposure on paper.
There is NO difference in sharpness between the two
forms of illumination because sharpness is a function
of the enlarging lens used. The only difference is in
contrast.
For the working photographer, the differences are
somewhat greater in terms of the pictures produced.
First, diffusion enlargers tend to suppress grain,
scratches and dust in the negative, thus reducing the
need for retouching. On the other hand, condenser
systems emphasize any minor defect. Second, the
print produced with a diffusion enlarger will show a
softer, more subtle, long scale of tones. There may be
a better balance of highlights and shadows,
particularly with contrasty subjects. In most cases,
pictorial and portrait photographers prefer the softer,
more pleasing gradation which results from printing
with diffusion enlargers.
(This difference in contrast does not apply to color
negatives since in color negatives, the silver is
replaced by dyes which absorb light instead of
scattering light. Since it is this scattering which
affects contrast, there is no difference in color
between diffusion and condenser enlargers.)
USING VARIABLE CONTRAST PAPERS
Variable contrast papers such as Kodak Polycontrast®
and Ilford Ilfospeed® Multigrade® can be printed
using the C760 Dichroic Lamphouse using either the
variable contrast filters recommended by the
manufacturer of the paper, or by adjusting the dichroic
filters built into the lamphouse. This latter procedure
should be tested first to determine correct settings
with various grades of paper. The following table can
serve as a point of departure, providing preliminary
settings subject to minor adjustments.
Kodak Ilford
Equivalent Equivalent
Dichroic Ilfospeed® Dichroic
Polycontrast® Filter Multigrade® Filter
Filters Settings Filters Settings
No. 1 OC/OM/24Y No. 1 OC/OM/54Y
No. 1% OC/9M/10Y No. 2 OC/OM/29Y
No. 2 OC/25M/4Y No. 3 0C/11M/10Y
No. 2% OC/36M/8Y No. 4 OC/35M/5Y
No. 3 OC/64M/12Y No. 5 O0C/74M/10Y
No. 3% 0C/138M/22Y No. 6 OC/127M/14Y
No. 4 OC/199M/45Y No. 7 O0C/200M/10Y
Polycontrast® is a registered trademark of Eastman Kodak Company.
lfospeed® and Multigrade® are registered trademarks of Ilford, Inc.
For printing with variable contrast papers with the
C760 diffusion lamphouse you can use the optional
accessory Variable Contrast Filter Kit (Catalog No.
429-376.)
YOUR FIRST BLACK AND WHITE PRINT
The basic variables of black and white printing are ex-
posure and contrast. Exposure of your print must be
correct, otherwise your picture will be too light or too
dark. The contrast of your paper must match the con-
trast range of your negative. Too much contrast will
result in a harsh, excessively contrasty print with a
“soot-and-whitewash”’ appearance. Too little contrast
will produce a print lacking “snap.”’ Contrast is in-
dicated by numbered designations, with 1 being least
contrasty, 2 or 3 being considered ‘‘normal’”’ and 5 be-
ing the most contrasty grade. When using variable
contrast papers, such as Polycontrast, the printing
filters used to provide the various contrasts have
similar grade designations. And, with proper adjust-
ment of the C760 Dichroic Lamphouse, you can pro-
duce variable contrast by varying the filtration, as
shown in the chart on this page.
The best way to determine correct exposure and con-
trast, at least at the beginning, is to make a test strip.
1. Select your negative and dust carefully with a
soft, camel hair brush to remove any dust or dirt.
Place the negative into the film carrier of your
Omega enlarger.
2. On the Dichroic Lamphouse engage the white light
lever or place all the filter controls at “0” to remove
any possibility of accidental filtration. Turn on the
light in your C760 Lamphouse and raise the
enlarger carriage so that you have an image of
about 8’’x10” on your easel. Now focus and
compose your picture.
3. Set the aperture of your enlarging lens to f/8.
4. Take an 8”x10” piece of cardboard to useasa
mask. Now turn off all light including your
enlarger. The only light should come from your
safelight. Place a sheet of 8”x10” enlarging paper
(you should get No. 2 or 3 contrast) in your easel
on the baseboard of your enlarger.
5. Place the cardboard mask over the enlarging
paper in the easel and cover the entire sheet ex-
cept for a strip about 1%” wide.
6. Turn on your enlarger. Set your timer or use a
clock to time an 18-second exposure, moving the
cardboard mask every three seconds to uncover
an additional 1%-inch strip of paper.
7. At the end of your 18-second exposure, turn off
your enlarger. Place the print in your developer
and develop fully, following the recommenda-
tions for your particular developer. (With Kodak
Dektol, for example, develop for two minutes at
70°F)
Important: If your print looks too dark, resist the
temptation to remove it from the developer
before the proper time is up. If your print is too
light, remove it at the proper time.
Wash and fix your test print normally.
15

8. The test print will show a series of strips of vary-
ing density, from very light (3 second exposure)
to very dark (18 second exposure). Somewhere
between — i.e., at about 12 seconds — you will
find a strip that has the desired density. This is
your correct exposure.
9. You are now ready to make a picture. Use the
correct exposure time as shown by your test
print. Develop, wash and fix, then examine your
print carefully.
If there isn’t enough contrast, if it seems too
“flat’’, make another print but this time use the
next higher contrast paper. If your original print
was on No. 2 paper, go to a No. 3 paper. If you
used variable contrast paper with a No. 2 filter,
try your next exposure through a No. 3 filter.
Conversely, if your print seems too “harsh” with
an absence of intermediate tones, lower your
contrast, using a No. 2 paper if your original
print was on No. 3, or No. 2 filter if your original
print was made through a No. 3 filter.
10. Once you get the “feel” of your negatives and
paper, you will be able to determine proper con-
trast and exposure without having to make test
strips for each print. The best way to learn to
print well is to print often. Don’t try to ‘‘mass
produce”’ prints: it is better to make ten good
prints per session than thirty or forty mediocre
ones.
11. A valuable aid in producing better prints more
consistently and in less time is an Omega CS50
Timer with Auto Exposure control. This instru-
ment will determine proper paper contrast and
correct exposure time, automatically compen-
sating for changes in magnification, lens open-
ings, and film density.
Copy Camera Attachment
and Slide Copying
The C760 Dichroic Lamphouse with its built-in,
continuously variable color filtration and its even
“diffused” lighting is the ideal light box for copying
slides. To use the C760 Dichroic Lamphouse for
copying, remove it from the enlarger chassis and
place it on the baseboard upside down. The top of the
lamphouse has been carefully designed to lie ab-
solutely flat.
16
Place the slide carrier for your enlarger with the’
slide you are copying directly over the diffuser of the
lamphouse. (The power cord should be disconnected
during this operation and reconnected when you are
ready to begin copying your slide. If the enlarger is
plugged into an Omega timer, simply flip the switch
for power, otherwise plug the cord into any standard
outlet.)
The Omega Copy Camera Attachment should be used
to mount your camera directly to the enlarger chassis.
Use Cat. No. 429-065 for C760 and Cat. No. 429-062 for
C700, B600, B66, B22 and Concept Six models.
Instructions for using the Copy Camera Attachment
are provided with the unit.
In most cases, Kodak Ektachrome 35mm film Type
5071 will offer the best results since it is specifically
designed for slide duplication and balanced for light
with a color temperature of 3400° Kelvin, the rated
temperature of the C760 Dichroic Lamphouse at the
“OQ” filtration setting. Other slide films may be used
for special effects: however, these films tend to
produce a duplicate slide with higher contrast than the
original slide.
Adjusting the filtration of the lamphouse can correct
colors or produce dramatic changes in mood or
emphasis. Sometimes this treatment can make an
exciting picture from an otherwise unexciting slide. In
addition to changes in color, you can enlarge and
compose from sections of the original slide by raising
or lowering the carriage of the enlarger or by varying
the focal length of your lens. The possibilities for
creative controls and special effects with the Copy
Camera Attachment and the C760 Dichroic Lamp-
house are almost limitless.
Lamp Replacement
Super Chromega C760 Dichroic and C760 Diffusion
Lamphouses (both 120/60Hz and 240/50Hz units) use
an 85-watt quartz halogen lamp, (Cat. No. 471-400). To
replace this lamp, unplug the line cord and allow the
lamphouse to cool. Remove the top cover by lifting up
from the rear. Then remove the two knurled thumb
screws which hold the top cover of the lamp housing
and remove this cover. Push forward gently on the
lamp release with your finger. The lamp should lift
free of the socket.
Important: Handle the new lamp by the edge of the
reflector ONLY, preferably with a tissue or soft
handkerchief. This will avoid damage to the inside of
the reflector as well as preventing your fingers from
touching the glass lamp envelope. Moisture and oil
from your fingers can etch the glass and lead to
blackening and premature failure of the lamp.

Glossary of
Printing Terms
Burning In
A method of allowing a portion of the image to
receive more light than would be required for overall
exposure of the whole image. This technique is
usually used when printing from negatives to get
detail in extremely overexposed highlights which are
represented by very dense portions of the negative,
passing very little light. When printing from slides the
reverse holds true.
Condenser Enlarger
An enlarger that uses one to three condensing
lenses to collect the light from a light source and
direct the light rays through the negative. Light from a
condenser system is uni-directional, going in one
direction, rather than diffused. The result is that the
image formed by a condensing system is more
contrasty and more revealing of slight imperfections,
dust and grain on a negative.
Contrast
The degree of difference between light and dark tones
in a photograph. If there is considerable difference
either because of lighting, subject matter, or the way
the photograph was printed, the picture is said to be
“contrasty.” If the differences are relatively slight, the
picture is said to be “‘soft.”’
Contrast Grade
An indication of printing paper’s ability to record con-
trast. The greater the contrast between tones, the higher
the contrast grade; the less the contrast, the
lower the grade. In graded papers, contrast grades
may range from “0” (softest and least contrasty) to
“5” (hardest or most contrasty). The ‘‘2” grade is con-
sidered “normal”. With variable contrast papers,
filters having similar contrast designations are used
to produce the different contrasts, with PC 1 produc-
ing “low” contrast and PC 3 and PC 4 being relatively
“hard”.
Dense
A negative which transmits very little light and which
has an overall dark appearance. Density is a result of
heavy silver deposits from either overexposure,
overdevelopment or both. Density is not the same as
contrast: a dense negative may not have very much
contrast.
Dichroic Filter
A printing filter produced by placing a thin film
coating on a transparent material. Dichroic filters
have the ability to transmit certain colors while
reflecting the other colors in the spectrum. The name
“dichroic” (literally ‘two color’) results because the
filter appears to have one color when viewed by
reflected light and another color when viewed by
transmitted light. Highly resistent to heat and fading,
with very closely controlled transmission
characteristics, dichroic filters are used for color
printing since they permit extremely precise and
consistent color correction.
Diffusion
The random scattering of light rays, producing a soft,
multi-directional illumination.
Diffusion Enlarger
An enlarger which uses a diffused light source to
illuminate the negative, either from a special cold
light head, a diffuser, or a dichroic filter lamphouse
with its mixing chamber. The diffusion enlarger has
the advantage of reducing contrast, producing more
subtle gradations in the print and minimizing the |
effect of dust, scratches, and grain on the negative.
Prints made with a diffusion enlarger have a softer,
smoother appearance than prints made with a
condenser enlarger. It is important to note that
sharpness is not affected by this type of illumination,
only contrast. Thus, prints made with a diffusion
enlarger will be equally sharp but will exhibit a
somewhat softer overall appearance.
Dodging
Shading a small area of a print to prevent it from
receiving as much light as the overall image requires.
The effect is the opposite of the effect produced by
burning-in.
Flat
In printing, a photograph which does not have enough
contrast and, in consequence, seems dull and lifeless
... is called: “flat.”
Gradation
Variation in tone from light to dark. Provides the
viewer with an indication of the depth and form of the
subject. Contrasty prints have less gradation and
more separation between light and dark. Normal
prints should have a complete range of greys
including rich blacks and brilliant whites. A ‘“‘soft”’
print has subtle tonal range and usually has an overall
greyish appearance.
Grain
The so-called ‘“‘pepper-and-salt” effect of silver halide
crystals in a photographic emulsion that is visible
when the negative is enlarged. Correct exposure and
development can help to reduce this effect resulting
in a “fine grain” negative. Grain becomes more
noticeable as the enlarged image is magnified — yet
the appearance of this grain can be reduced when
using a diffusion -type enlarger as compared to a
condenser-type.
Primary Color
In the additive color process, the three colors, red,
green, and blue are mixed together to produce other
colors. All three primaries together will result in black.
In the subtractive system, which is used for most
color printing, the three primary colors are cyan,
magenta, and yellow. All three subtractive primaries
together will produce white light. In practice, White
light passes through selected subtractive primary
colors to produce the colors seen in the resulting print.
Variable Contract (VC) Paper
Printing papers coated with a mixture of two
emulsions so that the contrast of the final print can
be controlled by varying the color of the light reaching
the paper. Usually one emulsion is sensitized to
yellow light providing relatively low contrast and the
other emulsion is sensitized to purple light to produce
relatively high contrast. By varying the color of the
light either with PC (Polycontrast, a Kodak trademark
for its brand of variable contrast papers) filters or with
a dichroic filter head such as the C760 Lamphouse,
prints can be made which vary from soft (low contrast)
to hard (high contrast) from a single negative on one
single grade of paper.
17

Recommended Reading
Probably the best general introduction to good
darkroom practice is the Omega Custom Printmaking
Manual, a concise manual covering film developing,
black and white and color printing and color film
processing.
There are may other books cover the art and techni-
que of printing available. The following titles are sug-
gested for more complete information. Books par-
ticularly designed for beginners are marked “B”’.
What is B/W Quality (G-4), Eastman Kodak Co.
Basic Developing, Printing, Enlarging in Color (AE-13)
“B”, Eastman Kodak Co.
Basic Developing, Printing, Enlarging in Black and
White (AJ-2), Eastman Kodak Co.
Bigger and Better Enlarging (AG-19) “B”, Eastman
Kodak Co.
Printing Color Slides and Larger Transparencies (E-96),
Eastman Kodak Co.
Kodak Darkroom Dataguide (R-20), Eastman Kodak
Co.
The Print: Life Library of Photography “B”, Time-Life
Books
The Print (Ansel Adams), Morgan & Morgan
The Craft of Photography (David Vestal), Harper &
Row
Color Printing (Engdahl), Amphoto
Basic Darkroom, Petersen Publishing
Guide to Creative Darkroom Techniques, Petersen
Publishing
Omega
C760
Lamphouse
Accessories
Solid State Voltage Stabilizer
(Cat. No. 403-730)
For Super Chromega C760 and C700 Dichroic and
C760 Diffusion Lamphouses. Compact, solid state
design plugs directly into timer and does not require
counter space. Assures constant color temperature
for consistent color print results at all times.
Technical Specifications
INPUEVONAQO™: 2.6 er. oe ee oracle 120VAC, 60 Hz.
OlitpurVonage-.. 3. «sae eee ee 84VDC, 1 Amp
C760 Attenuator Kit
(Cat. No. 429-330)
For C760 Diffusion Lamphouse. Set of three inter-
changeable light attenuators for controlling light
output up to -1, -2, -3 EV for optimum f/stop and
exposure time.
18
C760 Variable Contrast Filter Module
(Cat. No. 429-376)
For Super Chromega C760 and C700 Dichroic and C760
Diffusion Lamphouses. Precalibrated filter system
designed for use with Ilford Ilfospeed® Multigrade® and
Kodak Polycontrast® Variable Contrast printing papers.
Inserted between the light source and the mixing
chamber to deliver better results.
\Ifospeed® and Multigrade® are registered trademarks of Ilford Limited.
Polycontrast®
is
registered
trademark
of
Eastman
Kodak
Company.

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9-183-0650 Issue 3
1510M783(a)
Omega
©1983 BMC, Division of Berkey Photo, Inc.
Specifications subject to change without notice.
Omega Division BERKEY
BERKEY MARKETING COMPANIES iy
25-20 Brooklyn-Queens Expwy. West, Woodside, NY 11377 [phone]
3400 East 70th Street, Long Beach, CA 90805 PHOTO
Printed in U.S.A.