Oh good, thank you Chuck for your interest and many thanks also to
Richard, Matt, Jeff and others for expressing opinions and sharing
knowledge in regard to the pros and cons of creating a hybrid Collection
Information System/Digital Assets Management System (CIS/DAMS). All of
your comments are extremely helpful as the Center for Creative
Photography is working to determine the full potential of our new CIS.
While I was waiting for the MCN list to come back online, I took a stab
at creating a draft imaging template for the Center's new CIS. As
mentioned in my previous message, since we are in the Joint Application
Development stage with our vendor, MINISIS, this is our chance to
improve our current (very minimal) documentation of the digital objects
linked to the fully catalogued photographs in the collection. After
reading NISO Z39.87 and the PREMIS reference model several times, I
found some overlap and then chose the NISO doc to identify, to the best
of my ability, the data elements relevant for digital object
documentation at CCP. I imagine that if we do implement a version of
this template as a customization in our new CIS, we may be creating more
descriptive working names for some fields for the actual data entry
screen. (Also note the technical metadata will be nested under the
digital object name field like a little family in the CIS. The
information can be repeated or otherwise linked if appropriate to
multiple views of an object.)
In regard to one stop shopping....We have not seen a Rights and
Reproductions module in any CIS that is robust enough to replace our
current practices, so we will continue to use QuickBooks Pro for
billing, accounting and fiscal reporting in the R&R area. We do expect
to be to import and export data selectively between the CIS and
QuickBooks, EXCEL, and Word. We also expect the CIS to generate policy
documents, illustrated reproduction use agreements, letters, loan
agreements, and invoices from other areas that do not generate as much
financial activity and diversity of services as our R&R area does.
Another point to consider in my exploration of a hybrid CIS/DAMS is that
our digital assets are all stored and backed up together from the Master
TIFF, cropped, optimized TIFF to the derivative reference JPEGs, on
servers, multiple external RAID firewire drives, and tape. Rights and
Reproductions staff has password protected access to a particular folder
on the server where all the scanned images are stored and available for
client delivery. Because they are stored in directories under the artist
name and the image file names match the accession numbers of the
original photographs, they are fairly easy to retrieve. When a scan does
not exist, it is created and copied to a temporary R&R JOB folder for
delivery and then processed and backed up along with all the other
digital assets. Once we have migrated from our current database, Center
staff will have access to derivative JPEGS from thumbnails up to
PowerPoint quality through the CIS where they are linked.
My draft of a potential Digital Object Data Element template is pasted
directly below this message. The scanning workflow attachment missing
from my first message is pasted below that.
Thanks so much to all of you who expressed interest in this topic and
for taking the time to share comments, pro or con.
Dianne
Dianne Nilsen
Head of Digital Initiatives & Imaging
Center for Creative Photography
University of Arizona
P.O. Box 210103
Tucson, Arizona 85721-0103
Phone 520-307-2829
Fax 520-621-9444
dnilsen at ccp.library.arizona.edu
Imaging Data Elements (ROUGH WORKING DRAFT for CIS TEMPLATE)
Jpeg link-public
Path and file name for jpeg (lower resolution) image file relating to
this object, and having permission for public use (x number of image
links)
Jpeg link-restricted
Path and file name for jpeg (lower resolution) image file relating to
this object, not having permission for public use (e.g., Internet); for
in-house reference use (x number of image links)
Image scan date
The following data elements are based on NISO Z39.87 May be manually
batched by hand, automatically extruded from Tiff header, or designated
as default information in the fields. (TO BE DETERMINED depending on
capability of scanning device)
Technical Metadata - Batched Entry into CIS
7.1 Source Type
7.2 SourceID
7.3 ImageProducer
7.4 Host Computer
7.4.1 OS (Operating System)
7.4.1 OSVersion (Operating System Version)
7.6.1 Scanning SystemHardware
7.6.1.1 ScannerManufacturer
7.6.1.2 ScannerModelName
7.6.1.2.2 ScannerModelNumber
7.6.1.2.3 ScannerModelSerialNo
7.6.2.1 ScanningSoftware
7.6.2.2 ScanningSoftwareVersionno
Technical Metadata - Automatic Capture (Harvesting file header metadata
where possible for informational purposes - not used to decode the image
data stored in the associated file - see NISO 2.3.3 Metadata
assumptions)
6.1.1 MIMETYPE
6.1.2 BYTEORder
6.2.2 File Format eg. TIFF
6.1.3.1 CompressionScheme
6.1.3.2 Compression Level
6.1.4.1 ColorSpace eg. RGB
6.1.4.2 ICC Profile eg. Adobe RGB 1998
6.1.4.3 ProfileURL
6.1.4.6 ReferenceBlackWhite:
ImageIdentifier 6.2.1
6.2.1 Image Identifier
6.2.1.1ImageIdentifier Location
6.2.2 FileSize
X number of additional fields for future use
7.7 Digital Camera Capture (harvest/extrude from file header)
7.7.1 DigitalCameraManufacturer
7.7.2 DigitalCamaeraModel
7.7.3 CameraCaptureSettings
7.7.3.1 Fnumber
7.7.3.2 ExposureTime
7.7.3.7 SceneIlluminant
7.7.3.8 ColorTemp
7.7.3.9 FocalLength
7.8 Sensor
7.9 DateTimeCreated
X number of additional fields for future use
Technical Metadata - Default (fields set to default with information
filled in below)
TargetData
8.3.1 TargetType
8.3.2.1 Target ID Manufacturer
8.3.2.2 Target IDName
8.3.2.3 TargetIDNo
8.3.2.4 TargetIDMedia
8.3.3 ImageData (reference only if target is external to image)
8.3.4 PerformanceData
8.3.5 Profiles
X number of additional fields for future use
Preservation Metadata (data elements for potential use in migration or
documenting format changes)
Change History
9.1 Image processing
9.1.1 DateTimeProcessed
9.1.2 SourceData
9.1.3 Processing Agency
9.1.4.1 ProcessingSoftware
9.1.4.2 ProcessingSoftwareVersion
9.1.5 ProcessingActions 9.1.5
9.2 Previous Image Metadata (use only when format of master image file
is transformed)
TRAINING DOCUMENT NOTE: I am imagining that the optimizing technicians
will be the ones who will implement technical metadata capture into the
workflow as they are linking the JPEGS to the CIS.
Center for Creative Photography Workflow Sample Follows:
Direct Digital Capture Guidelines & Processing for Image Files
Capture Equipment: 4x5 Better Light Super 6K2, Viewfinder software
Lights: Buhl Cool lamps
Camera: Horseman 4x5 view camera
Copy stand: Bogen
Computer: Macintosh G3 (OSX.3.3)
Setting up:
* Warm Buhl Cool Lamps up for a minimum of 20 minutes prior to
first scan
* Measure reflected light on the easel with exposure meter to
ensure that the illumination is even.
* Handle original objects with cotton gloves. (refer to
registration handling docs and training video)
* Place photograph on copy stand in center of vacuum easel.
* Place black cardboard baffles around all edges of matted prints
or those with large white borders to minimize flare. For unmated
photographs, align baffles carefully with edges of print to create a
vacuum seal when pump is turned on.
* Place calibration target along the top or bottom of print,
avoiding sides and minimizing possibility of flare. Avoid creating
shadows when arranging targets and baffles.
* Never turn the vacuum pump on prior to placing print and baffles
in a stable position.
* Never lift print edges or try to adjust placement of the
original once the vacuum is on.
Better Light Capture:
* Using Viewfinder capture software preferences, check
"automatically save to folder" and select designated job folder on MAC
Firewire #1. The scan is automatically saved in the Better Light hard
drive and this will insure that each scan is saved in two places upon
capture.
* Name each image by accession number or archive object ID prior
to scanning. Double check accuracy of name against number on print or
checklist. [NOTE: When named prior to scanning, the filename will become
embedded and viewable later in "FILE INFO" in Adobe Photoshop along with
the technical metadata; RGB values, pixel dimensions, line time, etc.]
* Place focus target on surface of print and off center.
* Prescan the original.
* Select "FOCUS". Place probe icon on horizontal lines of focus
target and hit "GO". Use manual focus on camera as necessary based on
high audio pitch of sonar device and or by visual focus indicator on
monitor.
* Select "COLOR". Place color probes on middle gray, white of
color bar and black of gray scale calibration target and hit "AUTO
BALANCE".
* Use air bulb to blow any dust that may have settled off the
surface of print. A sable brush may be used on most collection prints,
with the exception of silver dye bleach prints (Cibachromes).
* Scan object using pre-calibrated capture curve
* Curve is calibrated by CCP based on consultation with
pre-press publication experts and in accord with NARA guidelines. (See
appendices NARA_Target_pp35, NARA_Target_pp36 for aim point densities
on Kodak color bar and grayscale for white, middle gray and black,
National Archives and Records Administration: Technical Guidelines for
Digitizing Archival Materials for Electronic Access: Creation of
Production Master Files - Rastor Images, pp. 35 & 36). Greytag Macbeth
Color Checker used periodically for fine tuning color accuracy of
capture. (See http://www.Betterlight.com <http://www.betterlight.com/> )
for instructions.
* Refer to NARA, pp. 54, 55 or WSDS (insert pp.) charts
for recommendations on resolution, line time, etc. in relation to
original object type and size.
Backing up:
* Back up image files from MAC Firewire #1 to MAC Firewire #2
after 3-4 hours of scanning and at the end of the day to the network
image server (CCP: Samba S10). NOTE: Create new folder named by artist
last name and scan date in the folder "OPTIMIZE" on S10. Once all files
are copied to the network server, and also on the two MAC external
firewire drives, they can be cleared from the Better Light hard drive.
* Assign folder in "OPTIMIZE" to processing technicians by adding
initials to the folder name: (eg. Adams_0415_GH)
Quality Control:
Open scan in Adobe PhotoShop, rotate, save as IBM TIFF with Adobe RGB
1998 color profile and perform following quality assessment:
* Enlarge to 100% and check sharpness in all four corners.
(Adjust camera alignment and refocus if necessary. Repeat focus check
for every 4-6 scans.
* With the INFO window opened, measure highlight, middle gray and
black points on Kodak calibration target so that the grayscale value,
(K), reads 6-8% in the brightest white, 58-61% in middle gray and 89-92%
in the black. These settings will ensure that the scan captures subtle
values in the original regardless of the way the image looks on the
monitor.
Optimizing:
* Copy assigned folder in Samba "OPTIMIZE" to optimizing station
for technician to access. (Feininger, Cameron, or Imogen)
* Open each file in PhotoShop and quickly check levels to obtain
the following ranges for white, black and middle gray: (repeat for every
4-6 scans)
* White on target +/- 6%,
* Middle gray @ 58-61%
* Black on target @ 89-92%
* Check sharpness in corners at 100% (repeat focus assessment for
every 4-6 scans)
* Save as CCP_.accession.tif
* Crop TIFF and resize image to 2048, in maximum dimension, at
300ppi
* SAVE
* Retouch dust and scratches if necessary with the rubber stamp
tool (judge what to spot with full image visible on screen, verify your
assessment at 100%, retouch at 100% to 200% depending on your vision and
skill). Be conservative in approach, retouching only that which is
distracting when looking at the entire image on the monitor. (use "Fit
to Screen" option)
* SAVE
* Using Image, Size, resample image to 7" in the maximum dimension
at 150ppi and SAVE AS JPEG eliminating the "CCP" prefix and adding "_pp"
to the file name. Creates a "Presentation Picture" or "PowerPoint"
* Using UNSHARP MASK, select 50%, 1 pixel, no threshold and apply
to image.
* SAVE
* Using IMAGE, SIZE, resize image to 3" in the minimum dimension
at 72ppi. Save as JPEG (maximum quality of 12) in same directory,
eliminating the "_pp". Use "Actions" for vertical or horizontal JPEGs
or Adobe Bridge Browser to automate process after learning step-by-step.
Backing Up:
* At the end of work session each day, back up new files in
initialed working folder back to the "OPTIMIZE" network folder on S10.
When the contents of the folder are completed and there are three
derivative access copies of each master image file, add "done" to the
folder name as follows:
S10\OPTIMIZE\Adams_0415_GH_DONE
* Once all files in all folders are completed, copy smallest JPEGs
to F:\Teams\CCP\CCP\Image under the photographer's folder where they
will automatically become linked to the collection information system.
Archiving Image Files:
The following steps are performed by an authorized image file manager
only:
* Once a folder is marked "DONE" in "OPTIMIZE" on the network
server, copy contents to the PRESERVATION folder under the artist's
name. The folder should include an equal number of Master Tiffs, Cropped
Tiffs, PowerPoint JPEGS and Reference JPEGS. Then copy all files in the
folder to two external 1.5TB Black and Silver RAID storage drives
attached to the main imaging station under PRESERVATION by the
photographer's last name.
* When the image files exist as mirrors in S10, and the two
external Raid storage devices, the folders can be deleted from the
"OPTIMIZE" folder as well as the MAC Firewires # 1 and #2. The process
for deleting folders at the MAC capture station is best communicated in
writing to avoid accidental deletion of unprocessed image files.
* The University of Arizona Library IT department (DLIST) will
back up the "Preservation" folder to deep server storage and to tape on
a designated schedule each week.
-----Original Message-----
From: mcn-l-bounces at mcn.edu [mailto:mcn-l-boun...@mcn.edu] On Behalf Of
Chuck Patch
Sent: Friday, June 30, 2006 6:37 AM
To: Museum Computer Network Listserv
Subject: Re: [MCN-L] FW: Can a CIS be a DAMS too?
On 6/29/06, Richard Urban <rjurban at uiuc.edu> wrote:
> I'd be happy to discuss this further off-list (unless there is a hue
> and cry to continue here).
>
Hi Richard,
consider this a hue and cry.
Chuck
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