A rack and pinion carriage elevation system provides exceptionally smooth magnification adjustments while the positive locking mechanism assures that magnification settings do not shift during the focus exposure. The modular design includes a number of system features. These features include more precise alignment of the negative and lens stages for greater optical performance, a tilting projection assembly for wall projections, a distortion correcting lens stage, a below the lens filter holder which accommodates variable contrast or special filters, and a smooth friction drive focus assembly which allows for left or right handed control. Its massive twin E-Channel with center-braced and vertical column assures that the center of the projected image remains stationary when changing image magnification. Thus, there is no need to reposition the enlarging easel, especially important with roll easel users.
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As you can see from fleabay, there are MANY accessories available--ranging from heads, to negative carriers, and other accessories. Of the latter, you are good through medium format and every odd thing below that.
The two standard lenses are 50mm for 35mm as noted by Craig , and 80mm for medium format. As to lenses, in my opinion there are only three brands you really need to pay attention to. In the latter for a beginner, my suggestion is the more economical S in the Rodenstock if considering that make.
They have served perfectly for over 15 years now--and both were purchased on fleabay. The thing to watch for in buying a used lens is clarity. Often enlargers were stuffed away in closets and garages after the photographer lost interest or jumped to digital--in less than optimal conditions.
Your lens should be free of fungus, and watch that the cement for the lens elements has not begun separating on the edges. There are older lenses and brands such as Wollensak which are common and perfectly serviceable as well--but to avoid mechanical issues and other consideration think about sticking with the three brands mentioned.
Paper brands such as Ilford include tables for settings--which will get you into the general range for a specific paper contrast grade. These settings are not absolute, as the dyes in the filters will change slightly as they age. A bit of wetwork will get you right where you want to be. For more absolutes, Ilford sells a set of variable contrast filters. One can use these as a reference standard to make adjustments to the table--and thusly you can create a paper table that is unique to how your dichro head and light source are performing.
Have fun, and enjoy the process of wet darkroom art!
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