kentdunne
Member
Hey guys,
I've shot film for 3 years now, I made a regression from digital to film. I've used my boarding school's darkroom for the last 3 years, but have no access to it during break or summer. I shoot more and more film now, and am beginning to think I need to get some darkroom equipment. I ran this by my parents, and they said that they'd let me use a room in the basement, and they would help me get money to buy the enlarger, safelight, timer, etc. I would be on my own for chemicals.
That shouldn't be a major problem. I'm usually smart about my use of chemicals, I process many rolls of film at a time.
Now is where I need help. I know nothing about enlargers other than the Beseler peice of **** we have at school (needs constantly realigned, holds film terribly etc etc).
I am probably looking for a mid-level enlarger. I will use this well after I move out of the house (If film is still made *fingers crossed*), but don't want anything ridiculous, like over 1000 dollars. The price ranges on B&H I've seen run from around 130-10,000, which doesn't really narrow it down for me.
So if anyone has any good ideas on an enlarger, and then a rough estimate of how much my budget should be to start to build a darkroom from scratch, that would be much appreciated.
I've shot film for 3 years now, I made a regression from digital to film. I've used my boarding school's darkroom for the last 3 years, but have no access to it during break or summer. I shoot more and more film now, and am beginning to think I need to get some darkroom equipment. I ran this by my parents, and they said that they'd let me use a room in the basement, and they would help me get money to buy the enlarger, safelight, timer, etc. I would be on my own for chemicals.
That shouldn't be a major problem. I'm usually smart about my use of chemicals, I process many rolls of film at a time.
Now is where I need help. I know nothing about enlargers other than the Beseler peice of **** we have at school (needs constantly realigned, holds film terribly etc etc).
I am probably looking for a mid-level enlarger. I will use this well after I move out of the house (If film is still made *fingers crossed*), but don't want anything ridiculous, like over 1000 dollars. The price ranges on B&H I've seen run from around 130-10,000, which doesn't really narrow it down for me.
So if anyone has any good ideas on an enlarger, and then a rough estimate of how much my budget should be to start to build a darkroom from scratch, that would be much appreciated.
MartinP
Veteran
I assume that you are in the US ? Most of the gear that you would need would be available via Ebay or Craigslist (I think that is the second-hand, online shop over there?). It would certainly be overkill to buy new, though that doesn't help support the few remaining manufacturers of hardware of course.
What film-format will you want to print ? Unless you are 110% certain that you will never want to try medium-format, I would suggest looking around for something available locally (these things are often big and heavy) that will cope with at least 120 rollfilm at 6x6 format.
In Europe, there are lots of Meoptas to be had for very cheap, but I would assume that there are different brands available on the other side of the pond.
Good luck, have fun.
EDIT: There is no need to go crazy with making a perfect darkroom initially. To start with don't worry about sinks etc etc. - just somewhere that can be darkened reliably.
What film-format will you want to print ? Unless you are 110% certain that you will never want to try medium-format, I would suggest looking around for something available locally (these things are often big and heavy) that will cope with at least 120 rollfilm at 6x6 format.
In Europe, there are lots of Meoptas to be had for very cheap, but I would assume that there are different brands available on the other side of the pond.
Good luck, have fun.
EDIT: There is no need to go crazy with making a perfect darkroom initially. To start with don't worry about sinks etc etc. - just somewhere that can be darkened reliably.
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pesphoto
Veteran
I bought my Omega B22 enlarger for $40 off Craigslist. Get yourself an EL Nikkor lens and a Gra LAb timer for about $20 or so each off ebay and youre ready to go
kentdunne
Member
Sorry to say it, but Northeastern Ohio really isnt a hotbed of culture. In the sad, terribly city of Youngstown where I live, There might only around 20 photographers who will still use film.
I found this a Besseler 23C11 and complete darkroom supplies (trays etc) for 125$, which might be a sick deal. anything about this enlarger?
I found this a Besseler 23C11 and complete darkroom supplies (trays etc) for 125$, which might be a sick deal. anything about this enlarger?
bsdunek
Old Guy with a Corgi
While I've never used one, the Besseler 23 series is considered a good enlarger. They look very sturdy. You don't say what film size(s) you use. You will need a lens for each size and the proper condenser set up. Some enlargers have adjustable condensers, some use separate assemblies. Most of the better enlarging lenses are good - I wouldn't worry much about the brand of that.
I think $125 is a fair price.
If all fails, I have an Omega B22 with Leitz 50mm lens in the attic. It has condensers and carrier for 35mm. If you wanted 6X6 you would have to find the appropriate parts. I'll let it go to you or anyone else cheap. It was my Dad's and is like new. Pick up would be best as shipping would be expensive.
Once you get your equipment, you'll have to set up the room. Be sure to ask on this forum for advice when you get to that.
Good luck!
I think $125 is a fair price.
If all fails, I have an Omega B22 with Leitz 50mm lens in the attic. It has condensers and carrier for 35mm. If you wanted 6X6 you would have to find the appropriate parts. I'll let it go to you or anyone else cheap. It was my Dad's and is like new. Pick up would be best as shipping would be expensive.
Once you get your equipment, you'll have to set up the room. Be sure to ask on this forum for advice when you get to that.
Good luck!
gb hill
Veteran
Try Craigslist like Pes mentioned above. Also try freecycle. I got a whole complete darkroom set on Freecycle. The Beesler you have at school was probably a good enlarger It's just warn out from so much use/abuse. A couple of months ago I was at one of our companies customers, One fellow I speak to when I'm there, told me he just threw out into the trash an enlarger he hasn't used in years. The freebies are out there You just have to have the right timing.
bkrystad
Established
Hey, I've been using a Beseler 23C series II in my basement darkroom for a year now, I've enlarged 35mm, 6x4.5, and 6x9 -- I like the results, doesn't need much fiddling in my experience. $125 sounds like a good option, matches what I see in Seattle on craigslist for "whole" darkrooms.
I completed my setup with a combination of hand-me-down, bought-used, and bought-new equipment for $1000. That's soup to nuts, including materials for blacking out the room and building a dark window vent. I could have done it for less, I'm sure, but boy the fiddly bits sure started adding up.
Good luck!
I completed my setup with a combination of hand-me-down, bought-used, and bought-new equipment for $1000. That's soup to nuts, including materials for blacking out the room and building a dark window vent. I could have done it for less, I'm sure, but boy the fiddly bits sure started adding up.
Good luck!
marke
Well-known
Another vote for the Beseler 23C II. After using them in a film class at the local university last fall, I found one on ebay for about $43. Goy myself a Nikor 50/2.8 lens for $25 and GraLab timer for $12. Now I just need to build the darkroom!
Al Kaplan
Veteran
You folks are just too lucky. I paid a lot more for my stuff, and that was over 40 years ago.
Jack Fisher
Newbie
Building Darkroom...
Building Darkroom...
Got you beat, Al.
I have been using my Beseler 23C for over 50 years, and it is still in top condition. I replaced the condenser head with a Zone VI diffusion head several years ago. Then I recently replaced the head with a color head. ...makes it convenient for variable contrast papers. So, I vote for the 23C.
I have the instruction manual on a 2MB PDF file, and am willing to send to those who ask. Just PM me.
Jack
Building Darkroom...
Got you beat, Al.
I have been using my Beseler 23C for over 50 years, and it is still in top condition. I replaced the condenser head with a Zone VI diffusion head several years ago. Then I recently replaced the head with a color head. ...makes it convenient for variable contrast papers. So, I vote for the 23C.
I have the instruction manual on a 2MB PDF file, and am willing to send to those who ask. Just PM me.
Jack
sepiareverb
genius and moron
LPL is the way to go.
Permanently aligned, top quality.
Permanently aligned, top quality.
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Tom A
RFF Sponsor
Having had (and built) multiple darkrooms over the years, I do have favorites when it comes to equipment.
If you are convinced that you will never go beyond 35mm 24x36mm size - try to find a Focomat 1c by Leica. Built like the proverbial truck. Very good light distribution and with a Focotar 50f4.5 - about as good as it gets. You set the autofocus once (i do check it every 5-10 years - but so far no recalibration needed)
If you are planning to go larger - the Beseler 23 II is a good choice. They are plentiful and rather cheap. Multiple heads available (bl/w, color, Multigrade etc). You have to align them as the negative "slot" and the lens tend to go out of alignment. Once they are set up, they usually stay put though. Only problem I have had with 23's is the power supply. They tend to "age" less than gracefully and die on you.
For "full" size, 35mm up to 4x5 the Omega D6 is probably the best one. The LPL's are good, but rather flimsily built. Basic design works well, but knobs fall off and set screws don't hold things in place.
The most important part of your enlarger is the lens. The top of the line enlarger with a crappy lens - will give you crappy results! The Nikkors are very good, in particular the 63mm f2.8.
When buying an enlarger, always insist on the full complement of negative carriers (23C's, D6's) as supplementing these later is expensive.
The universal timer for darkroom work is the GraLab 300 - indestructible and a good companion as it hums and mutters to itself as it winds down.
I don't like them for timing enlargers - 1 sec increments is not "fine" enough for printing. Get a digital timer for that. I use the GraLab's for process timing instead.
As for layout, make up a "floorplan" in full size (flattened cardbord boxes and masking tape works fine) and try it out. Always try to get a natural flow, from enlarger to developing tray, on to stop and fix and lastly to wash. Also make allowances for print drying, be it an electric hot air dryer or simple air dried. I use "bug screens" and simply went to a manufacturer and asked what he had in appropriate size and mismatched colors or scratched frames. I got 20 screens for about $5/each and then simply made a frame with slots in them to keep them in place.
You are working in the dark or with dim safelights - round off all corners of tables! It really hurts jamming your hip against a sharp edge.
You don't need that much space (8x10 ft is enough) and only if you do large prints or massive print runs do you need the extra space. The smallest, permanent darkroom I had was 5 ft wide and 16 ft long, my current one is 8x12 ft and the largest was 24x 24 ft (but it was set up for bl/w and color with a Kreonite processor and more than 28 feet of stainless steel sinks. For normal work it was too big (lots of walking around), but for pulling 24x36 color prints it was perfect (or doing 1100 8x10's in 24 hours!!!!!).
Pay attention to the floor. Get some industrial rubber mats - it is very tiring standing for hours and the softer rubber saves a lot of pain.
Get a good sound system (and blank out those pesky lights on the front with tape - they do fog paper/film). Pick a favorite station or Ipod download and enjoy it. DONT install a telephone - nobody ever phones when you are waiting for something to go through a tray - only when your hands are full and timing is critical!
If you are convinced that you will never go beyond 35mm 24x36mm size - try to find a Focomat 1c by Leica. Built like the proverbial truck. Very good light distribution and with a Focotar 50f4.5 - about as good as it gets. You set the autofocus once (i do check it every 5-10 years - but so far no recalibration needed)
If you are planning to go larger - the Beseler 23 II is a good choice. They are plentiful and rather cheap. Multiple heads available (bl/w, color, Multigrade etc). You have to align them as the negative "slot" and the lens tend to go out of alignment. Once they are set up, they usually stay put though. Only problem I have had with 23's is the power supply. They tend to "age" less than gracefully and die on you.
For "full" size, 35mm up to 4x5 the Omega D6 is probably the best one. The LPL's are good, but rather flimsily built. Basic design works well, but knobs fall off and set screws don't hold things in place.
The most important part of your enlarger is the lens. The top of the line enlarger with a crappy lens - will give you crappy results! The Nikkors are very good, in particular the 63mm f2.8.
When buying an enlarger, always insist on the full complement of negative carriers (23C's, D6's) as supplementing these later is expensive.
The universal timer for darkroom work is the GraLab 300 - indestructible and a good companion as it hums and mutters to itself as it winds down.
I don't like them for timing enlargers - 1 sec increments is not "fine" enough for printing. Get a digital timer for that. I use the GraLab's for process timing instead.
As for layout, make up a "floorplan" in full size (flattened cardbord boxes and masking tape works fine) and try it out. Always try to get a natural flow, from enlarger to developing tray, on to stop and fix and lastly to wash. Also make allowances for print drying, be it an electric hot air dryer or simple air dried. I use "bug screens" and simply went to a manufacturer and asked what he had in appropriate size and mismatched colors or scratched frames. I got 20 screens for about $5/each and then simply made a frame with slots in them to keep them in place.
You are working in the dark or with dim safelights - round off all corners of tables! It really hurts jamming your hip against a sharp edge.
You don't need that much space (8x10 ft is enough) and only if you do large prints or massive print runs do you need the extra space. The smallest, permanent darkroom I had was 5 ft wide and 16 ft long, my current one is 8x12 ft and the largest was 24x 24 ft (but it was set up for bl/w and color with a Kreonite processor and more than 28 feet of stainless steel sinks. For normal work it was too big (lots of walking around), but for pulling 24x36 color prints it was perfect (or doing 1100 8x10's in 24 hours!!!!!).
Pay attention to the floor. Get some industrial rubber mats - it is very tiring standing for hours and the softer rubber saves a lot of pain.
Get a good sound system (and blank out those pesky lights on the front with tape - they do fog paper/film). Pick a favorite station or Ipod download and enjoy it. DONT install a telephone - nobody ever phones when you are waiting for something to go through a tray - only when your hands are full and timing is critical!
marke
Well-known
Hey, Tom. Thanks for posting these tips. I haven't had a darkroom in nearly 35 years (back in my parent's 2nd bathroom during high school), but I'm starting to plan a permanent one in my own house now. Until then, I've had to use the one at a local university. It will sure be great when I get my own up and running again!
Tom, it's great to have guys like you and Al here to share in your wealth of knowledge.
Tom, it's great to have guys like you and Al here to share in your wealth of knowledge.
Tom A
RFF Sponsor
MarkE, one piece of advice when it comes to permanent darkroom. Never finish it completely. Always leave one piece "to be done". From experience I know the moment you sit back and say "Ok, its all done" something happens and you have to move or relocate! In my case - the wall behind one of my enlargers is still "darkroom yellow" instead of matte black - it has been like that for 21 years and I know, that if I paint it - something will happen that forces me to move and start all over again!!!!
rlouzan
Well-known
*A used Saunerds with variable contrast head or Omega enlarger.
*A Nikor-EL 50mm f2.8 (35mm) / 80mm f4 Schneider Componon-S (4,5x6cm/6x6cm) lens
*Saunders four-blade easel/Speed-ez-el easel
*Gra Lab 450R Timer
*Gra Lab 300 Processing timer
*A Nikor-EL 50mm f2.8 (35mm) / 80mm f4 Schneider Componon-S (4,5x6cm/6x6cm) lens
*Saunders four-blade easel/Speed-ez-el easel
*Gra Lab 450R Timer
*Gra Lab 300 Processing timer
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rlouzan
Well-known
To avoid film from buckling, do to enlarger bulb heat, hold film to neg carrier with painters tape. Avoid RC paper if you are going to frame your prints - print bronzing.
rlouzan
Well-known
To me, some of the most overloked items are: a steel print holding tank and a circular archival print washer (built with garden supply parts) for DW paper.
Trius
Waiting on Maitani
I 2nd the suggestion of the Focomat, though they are not nearly as inexpensive as used Saunders, Beselers, etc.
I have used a Beseler 45MX for years and never had an alignment problem. Here's a hint for all enlargers: secure them well. An enlarger on a wobbly surface/table is asking for problems. For my 45MX, I removed the base and its siderails, and mounted the enlarger itself on a shelf that I made and secured to concrete block basement wall. I secured the top frame with link chain and turnbuckle, the turnbuckle allowing me to fine tune vertical alignment.
Another good option is Meopta enlargers. Not as common in North America, but the older ones were good designs, basically Czech versions of Leitz Valoy, IIRC.
Another recommendation is to use a cold light (fluorescent) head and adjust exposure development accordingly. That's a personal preference, of course, but I love the tonal gradation of cold light.
I have used a Beseler 45MX for years and never had an alignment problem. Here's a hint for all enlargers: secure them well. An enlarger on a wobbly surface/table is asking for problems. For my 45MX, I removed the base and its siderails, and mounted the enlarger itself on a shelf that I made and secured to concrete block basement wall. I secured the top frame with link chain and turnbuckle, the turnbuckle allowing me to fine tune vertical alignment.
Another good option is Meopta enlargers. Not as common in North America, but the older ones were good designs, basically Czech versions of Leitz Valoy, IIRC.
Another recommendation is to use a cold light (fluorescent) head and adjust exposure development accordingly. That's a personal preference, of course, but I love the tonal gradation of cold light.
jmcd
Well-known
If its just for 35mm, I recommend a Leitz Valoy II. It is light and easy to move, very well aligned and stays that way, and has a glass condenser that sits on top of the negative to hold it flat.