If it hasn't already been said, photographing in a shoot-down copystand
setup will also allow you to avoid the glare from certain glossy and/or
rippled prints that frequently occurs due to the frontal lighting of a
scanner. For especially stubborn glare, the copystand approach also permits
you to use partial or full polarization when necessary. This is also
helpful for controling reflection from "silvering" that often occurrs
around the edges of older gelatin silver prints especially those that have
not been archivally processed.
So, copystand: faster, safer handling of objects, better light control.

Erik
MoMA

On Thu, Jan 22, 2015 at 4:59 PM, GTorres <gtorr...@gmail.com> wrote:

> Yes Rob. Scanning photographs will reduce its life. Better to photograph
> the photograph, and preserve it in a master uncompressed digital format
> (TIFF) and as a second printed analogic source.
> Unless you manage to have cold light scanners, which flatbeds are not.
>
>
> On Thu, Jan 22, 2015 at 3:05 PM, Matt Wheeler <mwhee...@pmm-maine.org>
> wrote:
>
> > Good afternoon. We have a collection which consists mostly of black and
> > white photographic prints and are beginning to digitize them using
> flatbed
> > scanners. However, I spoke to a conservator who advised that they be
> > rephotographed with a digital camera instead due to the intense light
> > exposure on a flatbed. Is this a legitimate concern? Will the scanners
> > cause degradation of the originals, and would this degradation be
> > considerable? Thanks in advance.
> > ______________________
> >
> > Matt Wheeler,
> > Photography Archives,
> > Penobscot Marine Museum
> > Archives (207) 548-2529 ext. 211
> > 5 Church Street, PO Box 498
> > Searsport, Maine 04974
> >
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-- 
*Erik Landsberg*

*Director, Imaging and Visual Resources*
*The Museum of Modern Art*
11 West 53rd Street, New York, NY 10019
212-708-9489
erik_landsb...@moma.org
www.moma.org
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