Matériel · 2026-09-17

Used Medium Format Enlargers: Five Models Worth Considering for 6×6, 6×7, and 6×9 Printing

You've got a Hasselblad 500C/M, a Mamiya RZ67, a Bronica SQ, or an old Rolleiflex that produces beautiful negatives. Maybe you've been scanning them, which is fast enough, but something feels missing. Or you've already done some printing on fiber-base paper and you're not content to stay with 35mm formats anymore. The logical next step is an enlarger that can actually project a 6×6 or 6×7 negative, and that's where the used market gets genuinely confusing.

Unlike 35mm enlargers, which show up constantly and are sometimes free, medium format models hold their value, have parts that can be difficult to source, and come with technical quirks that can turn a seemingly good deal into a real headache. This article covers five models that appear regularly on the used market in North America and Europe, with their strengths, limitations, and a realistic sense of what you should expect to pay.

What actually changes with medium format

Before getting into specific models, one technical point worth understanding: a medium format enlarger isn't just a larger 35mm enlarger. The negative area is three to five times bigger, and that changes several things at once.

The column needs to be tall enough to project a 6×7 at a useful size. To get a 30×40 cm (roughly 12×16 in) print from a 6×7 negative, you need to raise the head to a height that many entry-level enlargers simply can't reach, especially once you account for a thick baseboard eating into your working height. Always calculate the usable column height before buying, not just the total height listed in the specs.

The lens has to match the format. For 6×6, an 80mm works well, a 75mm at a stretch. For 6×7, a 100mm or 105mm is generally recommended. For 6×9, a 105mm or 135mm depending on the head. An enlarger sold without a lens, or with only a 50mm from a previous 35mm setup, won't cover the image circle of a medium format negative. Always confirm what's actually included in the sale.

And the negative carrier has to match your format exactly. MF carriers are often sold separately, and for less common brands they can be genuinely hard to find. Confirm availability before you commit to anything.

Approximate negative sizes and recommended enlarging focal lengths — larger negatives require longer lenses to cover the image circle.

The models worth looking at

Durst M670

The M670 covers 35mm through 6×7, provided you have the right condensers. It's the successor to the M605, and it's probably the most commonly encountered medium format enlarger on the used market in Europe, with a growing presence in North America. The M670 Color version comes with a transformer for a 12V/100W halogen bulb and an integrated YMC dichroic head.

A complete setup includes the Sivopar 35, Sivopar 45, and Sixma 66 negative carriers, covering 35mm through 6×6. For 6×7, verify that the corresponding carrier is present.

Mechanical stability is decent, not exceptional. The column is rigid but its maximum height limits how large you can print without working on the floor or using wall projection. Getting a 40×50 cm (16×20 in) print from a 6×6 negative will sometimes require going to the floor rather than staying on the baseboard. That's manageable, but worth planning for upfront.

Used prices: roughly 150 to 400 €/$ depending on condition and included accessories. A complete unit with MF condensers, a usable lens, and several carriers rarely goes above 350$.

LPL 6700 (also sold as the Omega D6700)

The LPL 6700, marketed in North America as the Omega D6700 Dichroic, gets recommended constantly as the best value in color enlargers, and honestly that reputation is deserved. It covers 6×7 natively with a genuinely good dichroic head. The counterbalanced cast-iron carriage runs on bearings and stays smooth after years of use, which makes focusing precise and stable in a way that cheaper enlargers can't match. The column is also longer than the Durst M670's, so you can make larger prints without dropping to the floor.

The LPL 7700 is the step up, capable of going beyond 6×7, and some users report being able to open a 6×7 carrier to cover approximately 56×84mm. Whether you can actually reach true 6×9 depends on the mixing box configuration, so if 6×9 is your format, verify that carefully on a case-by-case basis. A 7700 at a reasonable price will handle 6×9 without fuss, but it's a bigger machine. The 6700 is the right size for most home darkrooms doing 6×7 and smaller.

Used prices: 200 to 500$, sometimes more for a dichroic head in excellent condition. Yellowed filters or any visible light leaks knock the value down significantly. Inspect carefully.

Meopta Magnifax 4

The Magnifax 4 officially covers 6×9, with mixing chambers available from 24×26mm up to 65×90mm. It's one of the few affordable used enlargers that can comfortably project the largest 120 film negatives, and it has a solid user community that has documented it well.

The color version reaches roughly 140 cm (about 55 in) at full extension, and the head can be swapped between condenser and color configurations. Some units have a filter drawer rather than integrated dichroics, which is less convenient for serious color work but perfectly fine for black and white.

The Anaret 105mm f/4.5 that ships with many of these is an honest lens, well suited to the format. It's not a Rodenstock Rodagon, but it does the job. If you already own a good enlarging lens in M39 mount, it'll adapt without difficulty.

Used prices: 100 to 300€, sometimes less in central Europe. Relative scarcity can push prices higher in North America.

Beseler 45MX

The Beseler 45MX comes from a line that was manufactured and refined for more than half a century. The triangular twin-girder frame gives it remarkable rigidity, and it can produce sharp prints from 35mm all the way through 4×5 inch negatives, with everything in between, including any medium format, handled easily.

The 45MX II adds a motorized column for raising and lowering the head, and the head can rotate 90 degrees for wall projection when you need very large prints. This is the enlarger you buy once and never replace.

The downside is sheer size. A Beseler 45MX takes up serious room. The column alone often exceeds 1.5 m (about 5 ft), and if your darkroom is a converted bathroom or a corner of a garage, that matters. For someone printing primarily 6×6 or 6×7 with no plans to move into 4×5, the space commitment is hard to justify unless the price is very low or you genuinely expect to go large format eventually.

Used prices: the chassis alone sometimes shows up for 50 to 150$, which looks attractive until you add a usable head (150 to 400$ for a decent dichroic), carriers, and a lens. A complete working setup runs around 300 to 600$.

Omega D-5

The Omega D-5 is also a 4×5 enlarger, older than the Beseler but equally capable. It was a laboratory standard in North America for decades, which means two things: it's relatively easy to find used, and there's a community of users who have documented repairs, LED conversions, and parts sourcing thoroughly. DIY LED head builds are well documented across the usual forums.

Like the Beseler, it handles medium format without any trouble. Carriers exist for 6×6 and 6×7, and the original condenser head can be swapped out for a cold light source (Aristo, Zone VI) if you prefer a softer result with high-contrast negatives.

Used prices: similar to the Beseler 45MX, often somewhere between 100 and 500$ depending on condition and accessories. Complete sets with a working dichroic head go at the higher end.

Qualitative positioning of the five enlargers by maximum format coverage and typical used price — values are approximate midpoints; condition and accessories shift them considerably.

What to watch out for when buying

A column that's too short. This is probably the most common problem with poorly described used MF enlargers. Always measure the usable height between the head at maximum elevation and the baseboard. For a 30×40 cm print from a 6×7 negative, you'll need at least 70 to 80 cm of optical throw depending on the lens.

Light leaks in aging heads. Condenser heads are generally more reliable over time, but dichroic heads and mixing chambers can develop cracks in seals or aged plastic. Test in complete darkness before finalizing anything: turn the lamp on, block the light port with your hand, and look for stray light escaping anywhere else.

Missing or incompatible negative carriers. An enlarger listed without an MF carrier, with a note that "the rest is easy to find," is rarely as simple as that. For less common brands, some carriers are genuinely unavailable or cost more than expected. Check eBay and the forums before you commit.

A seller who doesn't know what they have. Plenty of MF enlargers come from estates or studio clearances. That's not automatically a problem, but it does mean the listing description can be incomplete or just wrong. Ask a lot of questions, and walk away from anything that shows rust, mold, or missing pieces you can't verify.

Going further

For medium format enlarging lenses, the Rodenstock Rodagon 80mm f/4 for 6×6 and the Rodagon 105mm f/5.6 for 6×7 are the reliable choices in M39 mount. They often come with enlargers but also show up separately on eBay for reasonable money, usually 50 to 150$ depending on condition. The Anaret 105mm f/4.5 that ships with the Meopta is a valid option, and the Rodenstock Rodagon 80mm f/5.6 works well if you're mostly printing 6×6.

For fiber-base papers suited to large MF prints, Ilford Multigrade FB Classic or Foma Fomabrom Variant III are sensible starting points. Fiber-base takes more care in processing, but it holds up better over time and genuinely rewards a quality negative.

Sources

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