One simple question, a shopping one. Which enlarger should I buy?

What have other established photographers used?

Links [2024]

simple update

links: http://www.jollinger.com/photo/enlargers/

—-> http://store.khbphotografix.com/home.php

— >https://glennview.com/nav.htm

• Heiland [in production]
• Kienzle [in production] http://www.kienzle-phototechnik.de/home_english/enlarger/enlarger.html
• DeVere: https://www.secondhanddarkroom.co.uk/product-category/shop-here/s-h-enlargers-shop-here/
• Omega [LPL]
• Durst
• Beseler
• Leitz
• Fotar …

>>Who made the best/first/… maybe check the patent database;;

My first enlarger was a Kodak. It was equipped with Ektar lenses. My selection was easy because it was the enlarger mentioned in a dye-transfer guide. And, I found a used one at a local camera store (DC). Next, came a Durst, then and Omega D2. At places I worked, were Fotars, Agfas, Dursts, Omegas and an occasional Leitz. Each had something worthwhile, while each had something missing. In a professional custom lab, there is no reason to keep testing enlargers: those that work well become the central tool. If it doesn’t meet all needs, modify it. In my present darkroom, I have several Omega and Beseler enlargers. One Omega has a Durst carrier system added. With point light, several types of condensers, and diffusion lampheads; I can print using additive, subtractive, split filter — any which way I want.

There was a time that photopaper was slow,varied by batch. It didn’t print the same month to month– reprints were risky. Additional consideration in the best printing labs, the enlargers had to print the same color, the same contrast across a divided order. That is something the home brew doesn’t encounter. Home cooks never have to make the same thing 50 times a night. Professionals do.

Commercial chefs have many knives, can cook on many fires, are expected to produce peak performance order after order.

The light, the lens, the space are primary tools — choose those you will use. An enlarger is a holder, a jig for the light , lens, and film stage.

Deciding the type of LampHead affects the contrast range of the negatives you make:

A condenser is an optical lens that renders a divergent light beam from a point light source into a parallel or converging beam to illuminate an object