Deleting photo metadata and the orphan works proposal. Photographers and other creative types should be aware of where they are placing their media, and what the consequences might be. This information concerns some of us, but the volume of subscribers to these services suggests, that they are either uninformed or simply don’t value their intellectual property.
Follow up to Karen’s comment
Sometimes a fine line is walked in how much detail to put in a document. On one hand you don’t want to appear to be talking down to the reader or bore them to tears. On the other hand, something that seems common knowledge to me, may be far beyond someone else’s experience. I made that mistake in the first post, and will do it again. I forget in this digital age that many have no experience in the mysteries of the darkroom and the alchemy that is practiced there.
So I dug through the files to fill in a little of the details.
The Beseler 45 enlarger. Solid and reliable with motorized elevation. Its rigid x-braced design makes for restricted alignment adjustments. This is the basic model with the condenser head installed. Large condenser lenses housed inside the head, focus the light onto the negative area, which is projected onto the baseboard. The image projected is sharp and higher contrast, resulting in every little piece of dust being accentuated. Some printers have referred to the resulting images being soot and chalk. The Beseler 45 is popular with many, as it was the choice of Ansel Adams. He shows one mounted with a modified dual grid cold light head and the other with the condenser head in his updated book The Print.
This is a top view of the Beseler 45 with the head removed. The Aristo cold light head will be lowered into the top slot where the condenser head has been removed.
The Aristo Cold Light is a diffusion head. A fluorescent tube sits above a white Plexiglas diffuser. The light source is lower contrast, and very even in distribution. Dust is suppressed compared to the condenser head. Better tonal separation in the dark areas while retaining detail in the whites is produced. Cold lights are inexpensive. Cold lights can be prone to fluctuation, due to environmental temperature. Zone VI remedied this with a compensating timer that used a light meter probe to measure the output and vary the time accordingly. Cold lights can be awkward choices for variable contrast black and white enlarging papers and colour printing, due to narrow spectrum tubes.
Colour Dichro heads have the virtues of the Cold Light. The light source is one or more halogen bulbs that are projected into a mixing chamber that sits above the white Plexiglas diffuser. Knobs on the front of the head, or a keypad, will let you set varying amounts of cyan magenta and yellow filtration. This is achieved by introducing a small dichroic filter into the path of the halogen bulb, attenuating the light source. The head should be connected to a voltage stabilizer, removing any chances of fluctuation. These are excellent solutions for printing with colour processes as well as variable and graded black and white papers. There are dedicated variable contrast heads, which are basically color dichro heads that are preprogrammed to the variable contrast paper grades. Colour Dichro heads are expensive.
Diffusion heads turned upside down make for good illumination sources for copying negatives and transparencies with high quality digital cameras. Colour corrections can be made with a colour dichro head. Large volumes of images can be digitized in a fraction of the time it would take to scan.
Interesting video about Muybridge assuming it is available in your area: