First things first. You'll need to develop some film.
Focus on that, take inventory, then you'll know what else
is required to do printing. Stick to B&W for starters.
 Film and print processing, B&W and Color, have some tools,
chemistry, and technique in common. Dan

In article <222b33dabedd443a88cb24aa3768ed5e@photokb.com>,

That's an emotional issue; it's like asking whether Coke or Pepsi is best.
;-) I also wouldn't get too hung up on the brands (Kodak, Ilford, Agfa,
etc.), because each company has several products with features that are
tuned for particular markets, types of film/paper, effects, etc.

For starting out, Kodak D76 (which is sold by many others, as well, such
as Ilford [as ID11]) is a good general-purpose B&W film developer. For B&W
print developing, Kodak Dektol is a good standard. Don't take these as
strong recommendations, though; it's just that they're both very popular
and get good all-around results. You can probably do as well or better
with other products, but which other products will depend on your
particular needs and preferences.

If you want more specific advice, perhaps you should post more specific
information, such as what format you're using (35mm, MF, LF), what films
(Kodak Tri-X, Ilford Pan F+, etc.), and what features you most want in the
finished product (fine grain, high acutance, full film speed, etc.).

Of course, there are choices for stop bath, fixer, etc. You'll see debates
on each of these, as well as on developers, and the same basic advice
applies: Don't get hung up on manufacturer name; instead, focus on the
type of chemistry it is, such as rapid vs. regular fixer.

The ones with the cyan, magenta (not red), and yellow filters *ARE* the
"special" enlargers for doing color work. You set the filters to get the
color balance right. They can also be handy for printing on variable
contrast B&W paper. Many enlargers lack these dials, which means that to
do color work with them, you've got to use supplementary filters.

Moving back a step, you should be aware of a more fundamental distinction:
that between condenser and diffuser enlargers. Condensers use special
optics (condensers) to focus the light from a bulb on the negative. After
that, the light passes through the lens and to the paper. This contrasts
with diffusers, which use reflective material or other methods to diffuse
the light from a light source onto the negative, and from there to the
lens and the paper. Enlargers with the dials (most of which are known as
dichroic enlargers after the dichroic filters they use) are always (AFAIK)
diffuser enlargers, but not all diffusers have the dichroic filters. For
B&W work, many people prefer condenser enlargers, which tend to produce
sharper and higher-contrast prints than diffuser enlargers. They also tend
to highlight dust and scratches, though.

Condenser enlarger heads are usually tall and bulbous; diffuser heads are
usually squatter and boxier. In theory, either type can be used for color
work, but diffuser heads with dichroic filters are the most convenient.
(Or so I hear; I'm still pretty new at darkroom stuff myself, and I've not
yet done any color work.)

You need a C-41 (or compatible) chemistry set for film, and RA-4 for
paper. (Color paper processing is usually done in cylinders rather than
trays, since the color paper is sensitive to the red light generally used
as safe lighting in darkrooms.) Kodak, Tetanal, and others all make it,
but I've not yet done color work, so I can't provide details. Be aware
that color chemistry has a short shelf life compared to B&W chemistry, so
don't buy a kit to make gallons of the stuff unless you're shooting dozens
of rolls a week. ;-) Color processing is also much more
temperature-sensitive than B&W, so be sure you get a more precise
thermometer.