Hi Kim - probably the cheapest way to try the process is to get a camera that takes a 669 film pack. There are drawbacks to doing it this way; however you will spend less money and still end up with a fun camera if you decide you don't really enjoy the technique, and you won't be stuck with a slide printer you may not want.

The other needed materials are less of an investment - the hot pressed watercolor paper, a brayer, a jug of distilled water and a couple of trays.

You should follow the advice given above and read up on the process in detail, so you can lay out your workspace in advance. Then, simply shoot an image and pull the print. 10-12 seconds into development is when you will peel apart the film, setting aside the print and using the negative to "transfer" the image onto dampened watercolor paper.

I would agree with Gordon's comment that "imperfect" pulls are part of the charm of this technique, and not be concerned with some of the dye lifting off. However, when you are learning the process it can be frustrating not to see most or all of the image, so when you're ready to peel the negative off the receptor paper, a simple trick is to slip the entire negative in a tray of tepid or warm distilled water and, keeping the entire negative immersed, peel the negative off slowly. I believe Kathleen Carr's book describes this in detail.

Once you've seen several "near perfect" transfers you feel empowered to start playing with deliberate liftoff a little more.

If you find yourself becoming addicted to the tecnique, then it might be time to invest in the Daylab - a wonderful slide printer, perfect for the job, which allows you to shoot slide film!

Hope this helps.