I finally got round to setting up a darkroom recently - having gone through a lab in the past. It had to be cheap, fit within practical constraints (a corner of my bedroom), and ideally be able to process my favourite formats. I finished up making some blinds to go in my windows.
By the sound of it the developer and fixer have been recommended above, and you've got a couple of good lenses - to be fair given the price of good enlarger lenses there's no point having anything rubbish, but, even the componar lens will be fine for medium enlargements provided it's in decent condition.
You will be able to use variable contrast paper without filters, but they do go together, and you'd be wasting the potential of the paper if printing without any available.. particularly useful for saving thin or over contrasty negatives. Once you get into contrast filters they can be used for split contrast printing - which I'm just in the process of starting - for bringing out the best of the light and dark bits in a picture.
You could go with fixed contrast paper but it means having more money and space tied up in paper, especially in a size range.
Perhaps the most uninteresting and costly side to printing is the other stuff. for contact sheets I just borrow a piece of glass from one of our coffee tables - practically, in 35mm (and often MF) they're generally done for finding out which negatives to print properly rather than to display.
Containers, measuring jugs, trays, etc.. I bought a cheap plastic set of stationary draws for a compact developing tray alternative - works for up to 8x10, I've drums for bigger stuff. The accordion chemical storage bottles look great for storing chemicals - some people have used glass marbles to fill up the air space inside bottles.
Measuring jugs, you can just mix a bit of developer with water and put the paper in until it looks roughly right. It's much better to mix to a consistent ratio, so the consistency will allow you to get a proper feel for the process, it's especially important if you decide to process prints in drums.
Grain focuser/magnifiers, a few here would probably cringe at the old cheapy next to my enlarger, had never seen that brand, poor but it works just well enough.. There are essentially 2 types, some use a ground glass as a focusing screen perpendicular to the paper (these are more of an image focuser rather than a grain focuser), others use a mirror and are viewed through an eye piece - these break down into some variations.
Timer, you can use a regular on/off flip switch, or a foot switch. A stopwatch or sounding metronome (available on modern phones) can work with one of those manual switches. That combination is fine though a little monotonous and error prone if trying to focus on burning/dodging.
Safelight, you can make a good one with modern LEDs and rubylith for added insurance. Regular models can be bought fairly cheaply though, and you should do a test. Firstly a CD can be used to split the colours of light - to see what light is coming from the unit. From there, if it looks roughly alright then do a safe light paper test. There are plenty of articles describing methods.
Regards,
Jonathan
