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Semelhante a Photographing Collections for Online Access and Preservation
Semelhante a Photographing Collections for Online Access and Preservation (20)
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Photographing Collections for Online Access and Preservation
- 1. Photographing a Collection From Galleries to Factories
- 2. Dave Sanderson – Project Leader Collection Imaging aucklandmuseum.com/collections @thebiglankyape dsanderson@aucklandmuseum.com
- 3. New Zealand in the Pacific Australia Pacific Islands New Zealand
- 4. New Zealand Auckland Image: Jorge Royan / http://www.royan.com.ar, via Wikimedia Commons New Zealand 4.7 million Auckland 1.57 million
- 5. Auckland War Memorial Museum - AWMM
- 6. Cenotaph on ANZAC Day Dawn Service
- 7. Future Museum High level strategic and capital investment plan Executed over a 20yr timeframe Galleries renewed without building closure ‘Onsite, offsite and online’ He Korahi Māori & Teu Le Vā Become a ‘Digital Museum’ Digital guardianship Sustainable Delivery Universal Access
- 8. Relation to Collections Collections led approach Use of collection material will be onsite, offsite and online Collections Online website – Linked Open Data Digital interactives in galleries as well as offsite ‘Open by Default’ collections – use of Creative Commons licensing
- 9. How is it funded? ‘We’ve been saving!’ The museum’s been working towards these projects for years and saving for approx. 10 years All Collections Readiness projects are Capital Funded – realising assets at the end of each project Other capital projects are happening – building work and galleries
- 10. Te Awe First Collections Readiness Project for the museum 3 year project – cataloguing, conservation, rehousing & repackaging and photography Visible to the public within gallery spaces
- 11. Collections Hub (before – July 2015)
- 12. Collections Hub (before – July 2015)
- 13. Collections Hub (now – Oct 2016)
- 14. Imaging Studio
- 15. So you’ve got a space – now what?
- 16. WWI Collections Collection Cataloguing Pacific Collection Access Collection Imaging Collections Readiness
- 17. Pacific Collection Access Project Launch
- 18. Pacific Images
- 19. Pacific Images
- 20. Pacific Images
- 21. What don’t we do?
- 22. We don’t do… Marketing & events images: External contractors & marketing staff Conservation imaging: Conservation staff BAU collection photos: Collection Managers Online content: Digital content team & various Pictorial and Documentary collections: External contractors and collections staff (scanning)
- 23. What do we do?
- 24. BK+ Imaging System for Macro and Micro work
- 25. 5x 10x 20x 50x
- 27. Drivers for Collection Imaging Pacific Collection Access Project Collection Cataloguing Project Documentary Heritage (Larger Artworks) Collections Backlog Logistical Demands Programmed Work
- 28. How do we do it?
- 29. Drivers for Collection Imaging The 90% Rule
- 30. Staffing for Collection Imaging 3 photographers (increasing soon) All from outside of the sector (so far) All with good commercial studio experience (so far) All come from a ‘time is money’ background Rights Specialist (very much a museum background!)
- 31. The Studio
- 32. Studio Research Smithsonian Rapid Capture Digitisation Numerous sector studios in New Zealand Commercial rental studios My old scanning ‘factory’ at Archives New Zealand Two large ‘department stores’ in New Zealand
- 33. Equipment – good but not the very best (for good reasons!)
- 35. Workflow as designed Naming, exposure and colour accurate at time of capture performed tethered via laptop Files arrive straight on processing PC passing straight through laptop which acts only as camera operational tool, not storage
- 36. Workflow as in operation Naming, exposure and colour accurate at time of capture performed tethered via laptop Files arrive onto laptop, then moving later through to processing PC
- 37. Tethered software EOS Utility – Naming menu too deep within app DSLR Remote Pro – Chosen app, but image previews not good across network Capture One - Unstable camera connection within IT environment Lightroom – Naming menu too deep within app
- 38. Working with Collections staff Assess each job at the beginning – Curators & Collection Managers Shoot sample images and request review Once agreed – shoot the whole collection Working with Collections Care closely Occasional ‘photographer moment’ – an extra shot slips in
- 39. Naming schema Unique name for each file – ‘uniqueID_001, _002 etc. Filename cross checked several times through end- to-end process Named at point of capture File name directly relates to each object (slightly jealous of the Smithsonian’s barcoding system!)
- 40. Processing No retouching at all (digital preservation) Basic metadata tags added RAW DNG JPEG TIFF Archive CMS Internet WIZARDRY (DCP)
- 41. Disclaimer: Our IT guys are awesome… ENTER: DAMS
- 43. Pre-DAMS state RAW DNG JPEG TIFF WIZARDRY (DCP) Archive CMS Internet File servers EXTRA WIZARDRY! (Several scripts & processes)
- 45. Long term digital guardianship has been front of mind since day #1 Digitisation done ‘safely’ New media for the museum created ‘wisely’ Born digital collecting Digital Preservation
- 46. Collections are ‘Open by Default’ Rights Specialist – researching rights holders Cultural Permissions policies – Māori and Pacific Open GLAM
- 47. Remember that bit? DCP = Digital Content Platform – bridge / filter between collection management systems and the web via API Collections Liberated – Linked Open Data WIZARDRY (DCP)
- 48. Driven by the API Collections Online Online Cenotaph Gallery Interactives Third Party Users Collaborators Partnerships Digital Content Platform (DCP) Collections
- 49. Open Collections Highlights Our website: 906,335 things online 1.2 million page views/155,00 users Digital NZ: 40,000 page views daily 1million + page views monthly 1% of those download or enquire further GBIF/ALA: 2,221,275 record downloads in 9 months Google Approx. 8000 page views Cultural Ave. of 2mins per page view vs 17secs Institute:
- 50. All sounds wonderful Dave… Surely something has gone wrong?
- 51. Equipment issues
- 52. Land Vertebrate Study Skins Logistics wins…
- 57. Small collections of objects Logistics losses…
- 58. Victims of our own work… Everyone wants their photos done! (but we can’t do them!)
- 59. Wins?
- 60. 50,000 images + 15,000 objects +
- 65. Grey areas?
- 79. Questions for you: Any tips & tricks for implementing a DAMS into a museum? Thoughts on managing small-batch collections in a production environment? Have you done it? VERY keen to hear from any museums tackling digital preservation!