Mark Paradis
Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of mpara...@gallery.ca Sent: Monday, October 20, 2008 6:22 PM To: mcn-l at mcn.edu Subject: Re: [MCN-L] photography, digitization, and a color/grey card? Hi All, This is my first posting since joining many years ago, but I'm an avid reader of the MCN. To that end I'd like to add my two cents worth to the discussion. Color bars and grey scales have been discussed since their invention. They have been a standard for so very long but do pose a few concerns for me. First point I do agree on is that the Greytag color checker is far superior to the Kodak medium. The non reflective nature of the Greytag checker helps eliminate flare thus providing more consistent results if you feel that color checkers are the solution for your operation. My objection to color bars when included at the capture/scanning stage is that any global changes made in image editing software will also extend to the color reference as well. Send the file to printing and the printers will correct the scale back to its know color and your original will share this bias. Knowing that the subject matter we all tend to deal with requires some degree of alteration at the capture phase we found we had to develop a new way of adding visual reference material that would be independent of the final edited image. Here's our thinking and solution which has been extremely successful for our collection of over 29,000 captures to date; First, calibration, calibration, calibration of all devices used in the reproduction process. This is now an old mantra to most image creators today but it cannot be stressed enough. We have a weekly regimen of systematic calibration of cameras and monitors to ensure consistency on these variables. Secondly, viewing conditions of originals. We undertook the conversion of our studio spaces to 5000K lighting in our fluorescent fixtures. We confirm these conditions with a color temperature meter monthly. This gives the photographer a reference environment to confirm color and contrast at the time of capture to the results visible on the calibrated monitor. This tends to be the one and only time this comparison can be made by a trained visual professional and is therefore critical to the final outcome. Once the image has been fined tuned by the photographer to best reflect the original we move on to the final piece of the reference puzzle. Third step, create your own unbiased reference scale. Yup, I said it, a homemade solution. Our approach was to create a digitally perfect reference grey scale in Photoshop. We created a 21 step, digitally created grey scale in Photoshop in .15 step increments just like the Kodak ones are supposed to be. Beginning at values of 0,0,0 for purest digital black on up to 255,255,255 for maximum white. With this technique each step of the scale is measurable and digitally accurate for today and evermore. Once an image capture is completed by the photographer (in their calibrated work environment), the digital scale is then added post-capture thus anchoring the original look to a perfect scale. Now when the printers make a neutral scale they are actually not affecting the final outcome of the photographer's rendition of the subject. We encourage them to use the scale without reservation for first run proofs. This system will also allow some insight into the ability of your printer in delivering a linear tone scale. If they can't deal with a neutral balance in the scale then a final publication will be a hit and miss project at the best of times. When scale proofs are measured from a linear reference it can be a beneficial tool in addressing the printers' possible areas of inconsistency either at the time of CMYK conversion or at the press. Because this technique has known values it puts to bed any debate of the scale's robustness or variability. The scale never changes! I hope this offers you another approach to this long standing issue. When the museum of color scales opens and the catalogue of scales is published, I'll go back to shooting them as subject and put away my computer. Until that time, the art rules! Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Genevieve De mahy Sent: Wednesday, October 15, 2008 9:48 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] photography, digitization, and a color/grey card? Dear Remko, As Dianne mentioned, the color bars are extremely important parts of digitizing a collection, particularly when you are dealing with older photographs that may vary in condition. The CWM recently digitized over 6,800 official photographs from the First World War, most of which had been stuck in albums for decades. The decision was made to remove them from the deteriorating condition of the albums themselves, and we were left with every kind of problem from color fade to cracking. We went ahead with careful scanning nonetheless and always used a color bar in that process. Even though this initiative was funded in support of our latest online project, the now digital photos selected from this collection for use in the module were then cropped to remove the color bar for the shows version of the captured image. I insisted on ensuring the primary archival function of the artifact was prominent over the one-time "show" requirement, regardless of the extra resources required to accomplish it, and it has served us well. Not only is the show a great success, showing 261 of the beautiful images, but our Image Reproduction Services reports requests for other images from the collection, and because they have the Master digital to work with, color bar and all, they can accommodate the broadest range of requests without having to manipulate the original, fragile, image again. My suggestion would be not to short change yourself on future use, take the time now to ensure it is done for years to come. Regards, Genevieve -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Tuesday, October 14, 2008 5:04 PM To: mcn-l at mcn.edu Subject: [MCN-L] photography, digitization, and a color/grey card? Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l
