The centerpiece of the darkroom is the Leica Focomat 1C enlarger, a model long regarded as one of the finest 35mm enlargers ever made. Known in the printing world for its precision optics, durable build, and automatic focusing mechanism, the Focomat 1C set the standard for producing crisp, detailed black-and-white prints at exhibition quality.

This particular enlarger carries added significance: it was once part of the New York City darkroom used by David G. Berger and Holly Maxson in their decades-long effort to preserve Milt Hinton’s vast photographic archive. With it, thousands of prints were created — including the iconic images later published in landmark books such as Bass Line and OverTime. Today, reassembled at Milt Studios, the Focomat continues its legacy as both a historic artifact and a working tool for new generations of photographers.

The Beseler 23C is where a lot of darkroom journeys began. Released in the late 1950s, it was the first widely available enlarger that gave photographers real control and precision in the darkroom.

Rugged and surprisingly advanced for its time, the 23C could handle negatives up to 6×9 cm, with a smooth counterbalanced head and a condenser system that produced sharp, contrast-rich prints. Its rotating baseboard allowed for both vertical and horizontal projection, opening up creative possibilities for larger and more experimental prints.

As the pioneer of Beseler enlargers, the 23C set the foundation for the legendary 23CII that followed.

This enlarger came by way of photographer John Keller — someone whose work moved through serious international photography circles for years.

The Beseler 23CII is built like a tank with a counter-balanced head that glides up and down, it handles everything from 35mm to 6×9 medium format without breaking a sweat. The condenser setup is legendary for delivering sharp, contrasty black-and-white prints.

It’s no wonder this model became the standard in schools, studios, and labs.

Photographers like Ansel Adams and Diane Arbus worked on Beseler systems in their darkrooms.

This enlarger came by way of photographer John Keller — someone whose work moved through serious international photography circles for years.

The darkroom is also equipped with a Besseler Printmaker 35 enlarger, a classic in Besseler’s long line of dependable enlargers.

Designed for 35mm negatives, it is known for its straightforward operation, solid alignment, and versatility in producing sharp, consistent prints. While more compact than the Leica Focomat, the Printmaker 35 excels as a reliable secondary enlarger — ideal for test strips, work prints, or shared use when multiple printers are working in the darkroom.

It’s also a perfect tool for making contact sheets, allowing photographers to review an entire roll of negatives without interrupting the flow of fine printing on the Leica. Having a backup enlarger ensures uninterrupted workflow, provides flexibility for experimentation, and allows the studio to support more than one project at a time.

The Durst M670 is a multi-format enlarger designed to handle film formats from disc and 35mm up through medium format 6×7, making it a highly flexible platform for both fine-art black-and-white and color darkroom work.

From an engineering standpoint, the M670 is known for its rigid wide-profile column and rack-and-pinion height system, allowing precise, repeatable vertical positioning — critical when maintaining focus and magnification consistency across print sessions. The column includes magnification and height reference scales, supporting repeatable print setups across different focal length enlarging lenses.

The platform is also highly modular. The M670 exists in condenser B&W, diffusion color, and variable-contrast configurations, with interchangeable heads and conversion kits allowing users to shift between black-and-white and color workflows.

This enlarger came to the studio by way of Dutch-born photographer Rudolf van Dommele. After training in photography in The Hague, he worked in Paris as a darkroom printmaker for filmmaker and artist William Klein before moving into international fashion photography and later working alongside prominent photographers in New York — a career that bridged technical darkroom mastery and high-level commercial image-making.

This photo shows the initial unpacking of boxes from the original Milt Darkroom — the starting point for the extensive equipment collection now housed at Milt Studios.

Dry Mounting Press – For producing archival-quality, presentation-ready prints.
Large-Format Enamel Processing Trays – Oversized trays capable of handling big prints with consistency.
Original Polycontrast Filters – Part of the historic Milt darkroom, used to fine-tune tonal range and contrast.
Enlarging Computers & Timers – Precision tools for accurate exposure control and repeatable results.
Extensive Darkroom Accessories – The original tools, finishing gear, and supporting equipment that once formed the backbone of the Milt darkroom, now available for use at Milt Studios.