A Leica is nice, but don't get caught up in "the grass is greener" - it's not the camera, it's what's on both sides...
put the negative directly onto the emulsion side of the paper and a sheet of glass to keep it all in contact and nice and flat.then expose with filtered light from the enlsrger;doneobviously you need a larger negative for this, but the results are typically beter than an enlarged small negative;no grain;better tonality; well worth a try for LF-camera owners4x5 is a min size i'm afraid8x10 and larger are spectacular;dodging and burning can be a bit tricky.
Like Ralf said, you can place negative directly on the paper and put a heavy transparent glass over it and test with different times like 8s, 16s, 32s and so on.
You can also fine tune by exposing intermediate times like 8s, 10.66s, 13.33s, 16s, 18.66s, 21.33s, 24s...
Some of the most beautiful prints are contact prints. I think Ed Weston's didn't have an enlarger, but just a light bulb to make his prints. If you're curious about enlarging, try using a community darkroom first.
I know this is a very stupid question, but since I have no clue so I have to ask. When I expose the paper under a light bulb nothing will show on the paper right. Then I assume that I will have to develop the paper again like the negative. So what developer and fixer are used. As I mentioned before film photography is gone from Pakistan and we don't get any chemistry, I mean the standard one. I only get metol and chemicals to make tf3. Would these same work for paper also, and how do I determine development time for paper is that mentioned on the paper like on film boxes. One of my cousin is in Toronto these days and would be coming back I am thinking if it is possible to get all this done at home then I might ask him to get a pack of Ilford paper for me... As I said we don't get anything here :(