The enlarger and the many accompanying accessories costs me $120 (off CL). There was a nice timer, an orange safe light, 4 negative carriers including 4x5 and 6x6 beg carriers, extra 38mm and 80mm enlarging lens, an almost new Sanders 4 blade 11x14 easel, 10+ stainless steel developing reels and tanks, and "several hundreds" of dollars of old fiber paper from 8x10 all the way to 16x20, still in their boxes and sealed. If 1/10th of the papers were any good, I would have recovered more than what I paid for, and the Beseler 23C II would be a bonus!! There was a box of Zone VI Studios Grade 2 paper in the pile, I understand they were the standard until Multigrade papers came along.

So I proceeded to set up my makeshift darkroom. There were two windows and a door that needed to be light tight. I taped the windows with black plastic sheeting from Home Depot and created a temporary workbench for the trays by putting a 2x4 plywood panel also from Home Depot over two plastic cabinets. Bought a fresh developer and stop bath from Kaufman's camera, and they "donated" a piece of perspex for my contact print (it worked). Printing is only done after sundown (now you see why I wish the sun would set sooner so I get a few extra hours of printing at night). After some experimenting, I was finally able to settle into the printing routine.

A few notes:
I used RC paper for contact print, at 3-5 sec increments, depending on the tone/contrast
After looking at the contact print, I decided to test print an image I shot at the recent Cinco de Mayo parade in San Jose on Zone VI Studio Grade 2. There was more contrast on the contact print than I wanted so I thought printing on Grade 2 paper would be a good compromise (I am still waiting for my filter pack to arrive).
The first image above of the young cowboy was rather interesting...the old Zone VI Grade 2 fiber paper probably gave the print its warm and aged look.....still experimenting....
The daisy shot on the other hand was printed on regular Multigrade Fiber Paper with a #3 filter. When I looked at the contact print, it seemed to have nice shadows and highlights (the #3 filter was the only filter that came with the enlarger until mine arrives). Below is the scanned image. I like the result, particularly the grain, which was very visible when enlarging to 11x14. I might add this was shot with Ilford Harman Infrared SPX200. It was the first time I used Ilford SPX 200 and I love it. It has a nice soft tonal range and the highlights are a touch ghost white while the shadows are solid black. Looking at how my scenics and still life turned out, I will definitely be shooting a lot more of the SPX 200.






