Enlargers

There are two main types of enlargers for the home darkroom:

• Condenser Enlarger

  This type of enlarger has a sharp, undiffused light that produces high contrast and high definition in a print. This enlarger is less forgiving on scratched negatives, as scratches will be emphasized on the print. (If you occasionally have a scratch on the print, these can usually be retouched with retouching dyes, a brush and a little patience.... retouching is actually a valuable skill to learn).

• Diffusion Enlarger

  This type of enlarger scatters light before it strikes the negative, distributing light evenly on the negative. Detail is not as sharp as with a condenser enlarger, but negative blemishes are minimized.
  The diffusion enlarger will cost you more to purchase and replacement bulbs will also cost more than bulbs for the condenser enlarger.

If you are using good scratch free negatives, you will not notice a dramatic difference between these two types of enlargers and either will make excellent prints.

I like my condenser type enlarger (Beseler 23C), which I bought 28 years ago when I didn't have a lot of spare cash. I have made a lot of very nice prints with this machine and have no need, or desire to change to the diffusion type. Most home darkrooms are used to process 35mm film. Make sure the enlarger that interests you is compatible with 35mm and if you might be interested in stepping up to 2 1/4 x 3 1/4 negatives, that it is capable of handling that format as well. My Beseler 23C will do both sizes with the addition of another size lens carrier.

Buying an enlarger? - if you are careful and do your research, you may find a good used machine. Contact a few large photo supply stores and ask if they have any used enlargers in the format you are interested in. You can also investigate camera clubs in your area - they could be a valuable source of expertise and used equipment. If buying from an newspaper advertisement, see if the seller can demonstrate an actual exposure and develop the print while you watch. You can then judge the print quality, focus, etc. I would consider any brand of enlarger, as long as it appears to be of good substantial construction. Make sure that it has a good quality lens in the 50mm range with an f-stop range of about f 2.8 to f 16. My lens is a Rodenstock Rodogon 50mm and has click stops in half stop increments from f2.8 to f16. the half-stop click stops are not necessarily needed. If the lens is used, examine it closely if possible - it should look nice and clear and shiny - no cloudiness or mold spots visible on the inner surfaces. Or you can buy a used enlarger and then purchase a new lens for it - check compatibility, availability and price of the lens before you buy the used enlarger.

The f-stop of the lens controls the amount of light that is projected onto the easel.

The timer, controls how long that same amount of light is projected to the easel.

Most enlargers can be converted to color use by removing the enlargers "head" (light source and lens assembly) and replacing it with a color head. This is quite expensive, but with the addition of a color negative analyzer, you can then make color prints relatively easily.

Filters - (Enlarger)

A set of inexpensive variable density acetate printing filters for the enlarger. The filters allow you to use what is called "multigrade" paper - the filters when placed in the enlargers light path either in combination or as a single filter, allow you to "change" the contrast of the paper. The higher the filter number - the higher the contrast of the print. So if you have a rather flat looking print, you reprint using a higher number filter and a corresponding longer exposure time under the enlarger. The longer exposure time is necessary as the higher the numbered filter, the denser the filter and hence less light is passed to the paper. The idea here is economy - rather than buying a box of each grade paper, you just buy a multigrade box and a set of inexpensive acetate filters.
Note: You may also have to trim down the acetate filters with a pair of scissors, in order for them to fit into the filter drawer, as not all drawers are of uniform size. The filters allow you to purchase what is called "multigrade" photographic paper. This allows you to purchase a box of paper in your choice of finish and size, say 'glossy' 8x10, verses the alternative of having to purchase one box of contrast grade 0; one of contrast grade 1; one of grade 2; etc.
See Frequently Asked Question #18

Safe Lights

A safe light is a light tight enclosure with a filter, which blocks the spectrum of light which would expose black and white photographic paper. Behind the filter is an ordinary light bulb, usually about 15 watts, depending on the enclosure's specifications. A safe light filter for a black and white darkroom is usually a yellow-brown in color (Kodak's designation is "OC"). The red filters that you commonly see used in television movies, are for dramatic effect only and not normally used in the home darkroom. The problem with using a red filter is that although they will prevent exposure of the paper, they make it difficult when trying to evaluate the developed print. Red filters are normally used only on special applications (special use films, etc) and are not generally found in the home darkroom. Purchase new safe light enclosures with new "OC" or equivalent filters. Used safe light enclosures are risky and may be a waste of your money - consider new if you can afford them.

Purchase at least one safe light for the dry area and one for the wet area. Equip each with a light bulb to match the rating marked on the safelight enclosure - usually about 15 watts.

Film Processing Tank

One 35 mm film processing tank (or one to match the film format that you are using)
available in various capacities (2 or more reels) (plastic or stainless steel).

Thermometers

1 low temperature range for mixing your stock solutions with water in preparation for film or print development and 1 high temperature range (Only needed if you decide to mix your own stock solutions from dry prepackaged contents like Kodak Dektol)

Print Trays

Size dependent on your needs. You can generally use an 8x10 tray for processing 8x10 prints and an 11x14 tray for 11x14 prints, although you will get a more uniform development by using a larger tray, than the paper you are developing. The reasoning here is that you get a better circulation of developer around the print when using a tray that is larger than the print.

Timers

While not necessary (you can use your wristwatch), digital or analog darkroom timers are nice as they are generally larger and more luminescent. Its nice to have a dedicated timer for your dry area and another for your wet area. The timer for your wet area (print processing), should have a good size luminescent dial that is easily readable under the low light illumination of a safelight.

Print Washing Tray

Large print trays can also be used for washing finished prints (16x20 tray)(unless your sink has a built-in wash area)
or use, as I do, a separate laundry sink dedicated to washing prints ONLY!

Print Tongs

Tongs for handling prints while processing (1 for each solution)(usually 3 - developer; stop bath; fixer). You definitely want to minimize frequent contact with potentially toxic chemical solutions. You should also label your tongs, so that they are never placed in the wrong solution. Even though you may have washed them, there will still be residual chemicals on them. If you were to place the tongs that you last used for 'fixer' into your 'developer' solution, you may deplete the 'developer' significantly.

Under no circumstances backward contaminate your processing solutions. Each tray should have its own set of rubber tongs, and they must stay in the proper trays. If you accidentally contaminate your developing solution with stop bath or fixer, pour the developer down the drain and mix up a new batch. I always label my tongs, so that I always begin my processing with them in the correct solution.

Optional Equipment

Contact Sheet Maker

A contact sheet frame will allow you to make a print of 24 to 36 negatives on one sheet of 8x10 paper. Each image (picture) will be the same physical size of the negative. This is a great tool to quickly appraise your negatives and their potential for making a good print, allowing you to decide which of your negatives are worthy of printing to larger paper.

Focusing Aid

Grain focuser (focusing aid, allows you to focus onto the grain of the image - while projecting the image onto the easel, adjust the grain focuser until the grain "snaps" into focus). Very handy, even for those us of that have excellent eyesight.

Compressed Air

A can of Compressed Air (approx 10 ounces) - used to gently blow dust from negatives. Once you have placed a negative into your enlargers negative carrier, hold the negative and carrier vertically, give the negative a short blast of air to both sides and then place the carrier into the enlarger. If you were to do this procedure with the negative in a horizontal position, (hence the compressed air can also in a horizontal position) you would risk dispensing some of the liquid contents of the can onto your precious negative - possibly ruining the negative.

Easel

Used to hold a sheet of unprocessed paper securely in position under the enlargers light. The borders can be easily adjusted to give various sizes of white borders around your finished image (blocks the light from hitting the paper, hence giving you a nice white border - I generally set mine to 1/8th of an inch). The easel also allows you to size and compose your image, by projecting your image directly onto the empty easel. Then when you are satisfied with your composition and focus, make sure your room light is turned off and your safelight is turned on. Set your enlargers lens to the f-stop you have chosen and open the easel and accurately insert the sheet of photographic paper. Close the easel and activate your timer which is attached to the electrical supply of your enlarger.
The print is now exposed for the time you have selected, and ready to process in your developer solution. An 11x14 easel is ideal, this will allow you to compose an image 11x14 or smaller)
This can be done without an easel, but is a little tedious.

Radio

Darkroom activity can be a little lonely at times.

Gadgets

Various other gadgets at your local photographic supply store.