easels

[phdgent]

The print quality of a print made for a gallery showing is not going to be obtainable when using a 23cII enlarger and foma papers.

The gallery print is 90% of the time made by a printer who has decades of experience, and is paid to devote up to a week of time to make a single print, going through the entire spectrum of massive amounts of test strips, changes in filter grade, etc. Its like giving a person a piece of charcoal and teling them that they can draw as good as davinci after a week of scribbling

AND, this printer having a considerable budget at his disposal...

[jnantz]

The print quality of a print made for a gallery showing is not going to be obtainable when using a 23cII enlarger and foma papers.

The gallery print is 90% of the time made by a printer who has decades of experience, and is paid to devote up to a week of time to make a single print, going through the entire spectrum of massive amounts of test strips, changes in filter grade, etc. Its like giving a person a piece of charcoal and teling them that they can draw as good as davinci after a week of scribbling

gallery prints can be made with any enlarger and any paper, it's just experience (and knowing one's equipment), and having something interesting ( or not interesting ) to say; not fancy gear. Miroslav Tichy had a very large exposition a few years back and he used a camera made of cardboard.

[Tim Meisburger]

gallery prints can be made with any enlarger and any paper, it's just experience (and knowing one's equipment), and having something interesting ( or not interesting ) to say; not fancy gear. Miroslav Tichy had a very large exposition a few years back and he used a camera made of cardboard.

I agree with this. For many years my only enlarger was a crown graphic with a taking lens and a graflarger mounted on adjustable shelf brackets. Although I could not make gallery-quality prints with this kit, I'm pretty sure that Ansel Adams could have. The problem is not the kit, not the camera, not the lens, not the enlarger or the paper, the problem is me. The sooner we realize that we can make art with anything--that there is no magic bullet--the sooner we can get to what is actually important.

[Jim Jones]

Tim is right. A photographer who has learned what excellent photographs are, and is good at solving all the problems that may occur in making them, shouldn't need to spend endless time and money on producing them. Some photographers learn excellence through training. Some, unfortunately, are mislead by the leading guru of the moment or the diverse opinions of fellow photographers. A fortunate few naturally feel it. After we have established our own personal goals in photography comes the task of understanding enough technique to achieve them. There is a wealth of help for this on the internet, but much misleading information. Books by the masters can be valuable. Too many books are published by those who want more to be published than to be perfect. At least the greater difficulty in publishing books weeds out many.

[Pieter]

But why struggle with mediocre enlarging equipment to make a good print? A misaligned enlarger, a poor lens or an out-of-square easel just stands in the way. For me the making of a good print comes from proper exposure, and dodging and burning, nothing to do with the equipment.

[Doremus Scudder]

Actually, the Beseler 23CII and Foma papers are both top-quality products. Any reasonably good printer could make fine prints using those materials.
I worked with 23Cs for years before moving up to 4x5. They are fine machines. I still use Foma papers from time-to-time. They are on a par with other premium brands. Working with either is not a struggle, rather a pleasure.

Doremus

[Tin Can]

The real trick is to not buy junk

Lots of enlargers ARE BENT and not easy to flx

During the Great Purge most enlargers of all sizes were scraped

I saw it. I collected what I could.

To preserve it

One day I will die and my oldest friend will sell

I love collecting

I have tiny to big

I would go get enlargers and sinks in 500 mile radius

I couldn’t walk then, sleep in van pee in cup

[McSnood]

Some very good suggestions as to cause. Here are some more and apologize if suggestions are sophomoric.
1. Start at the beginning. Check condenser for any situations, is it seated squarely, etc, and it is at the proper height for the film format you are using.
2. Check the lens closely for any potential situations internally and externally. Are these circular areas on the print in the same area? if so turn the lens 90 degrees and track results.
3. Check negative(s) for proper development. It can be very hard to see problems on a 35mm negative. If possible, scan the negative you are having issues with.
4. Black lines on the edge of the print sounds like you are printing part of the film rebate. Confirm sure your projected image is always slightly larger than your print size.

From what you describe it has nothing to do with the easel. Start at the beginning, this is one of those situations you can chase your tail for months and find it was something simple. Your description saying circular areas with like a square in it would send me right to the condenser.