LSTA: $20K to $40K - Digitization of newspapers?

NHPRC / SC SHRAB  $?

http://www.state.sc.us/scdah/shrab/shrabnhprcapply.htm

 

From CDP Workshops: Digitization and Museums: August 2006

DAY 1 - Introduction to the issues involved in digital project management

Agenda Topics:

* Why digitize?

* Defining an audience

* Legal Issues

* Tools for deciding what to digitize

* Dublin Core Metadata

* Digital Capture Best Practices

* Digital Glossary

* Funding Options

* Writing Competitive Grants * Benefits of Collaboration

DAY 2 - Introduction to Digital Imaging

The focus of this workshop is on basic digital imaging techniques. It introduces cultural heritage institutions to the Western States Digital Imaging Best Practices, quality control, storage of image files, and basic concepts of digital preservation and technical metadata. Participants have the opportunity to work with a flatbed scanner to create scanned images.

Agenda Topics:

* General introduction, including definitions

* Image capture

* File formats and compression

* Image sizing

* Selecting digital imaging hardware

* Managing color, calibration

* Quality control including Benchmarking and formulas

* Outsourcing

* Hands on exercises

DAY 3 - Introduction to Dublin Core Metadata

This workshop concentrates on the creation of Dublin Core metadata for digital objects using the Western States Dublin Core Metadata Best Practices. Participants will be provided an overview of Dublin Core elements and strategies for applying them to digital cultural heritage collections. Lecture and small group discussion will be included in the session.

Agenda Topics:

* What is metadata?

* What is Dublin Core?

* Western States Dublin Core Metadata Best Practices

* Options for creating metadata records

* Heritage and how to contribute records

* Hands on exercises

A page from Cuban Heritage Collection Digitizing Project Final Report

Imaging:

Accomplishing a large-scale digitizing project in-house requires a sizeable staff. The project experienced significant turnover among the staff that operated the scanners. Every staff departure resulted in a productivity loss as a replacement was recruited, hired, and trained. Based on experience gained in this project, the Richter Library has decided to outsource the actual digitizing tasks of future large-scale efforts to a third-party that specializes in digital imaging.

Metadata:

Preparing descriptive information about each digital image is just as important as scanning the actual document or photograph. Selecting the appropriate metadata standard and implementing it effectively requires a careful analysis of the collections being digitized as well as knowledge about the scope of different metadata schemes in existence. Performing this function well requires the expertise of an experienced, professional librarian and cannot simply be done in an ad hoc manner by those only vaguely familiar with metadata principles. Based on experience gained in this project, the Richter Library has redefined one of its professional cataloging positions as a metadata librarian who will work actively in ensuring that appropriate metadata is applied in digital projects.

Collections:

One of the great by-products of a digitizing project is that it forces a library to ensure that a collection is fully processed according to archival standards. This project was the first to apply the Encoded Archival Description (EAD) standard to a collection. While EAD presents some difficulties, it is an excellent conceptual tool for analyzing a collection. Based on experience gained in this project, the Richter Library is applying the principles of EAD in the preparation of finding aids for archival collections.

Preservation:

The digitizing of thousands of images necessitates the development of a digital preservation plan to ensure that rare materials never have to be re-scanned. Through this project, the Richter Library has developed a procedure based on best practices of other institutions for maintaining digital images. Furthermore, based on experience gained in this project, the Richter Library is developing a more extensive digital preservation infrastructure that will ensure the long-term management of archival master digital images.

Technology:

Projects that are technology-based often spend an inordinate amount of time attempting to make a specific software system work properly. Often, a simpler choice of systems can be very effective. Also, projects require a significant ramp-up time as equipment is purchased and installed. As an outcome of this project, the Richter Library has selected CONTENTdm as its software system for archival digital collections. The lessons learned with technology through this project have allowed the Richter Library to establish a technological foundation on which future digital projects can easily be built.

Use & Evaluation:

A significant aspect of any project is evaluating its usage. While time and staffing constraints have deterred an in-depth assessment during the course of this project, the Library recognizes the importance of this activity and is incorporating it into ongoing activities.

From Picture Element

What are the advantages of Picture Element's Cruse Synchron Table (ST) scanner over digital camera scan backs, digital CCDs, and studio lights?

Answer:

While today's digital ccd cameras and scanning backs are capable of capturing images, they pale in comparison to the Cruse Synchron table scanner. The Synchron Table model is the newest improvement from Cruse's already great Synchron light model. The Cruse Synchron table scanner offers the following significant advantages:

Light and table: The patented synchron table system enables it to be predictable and repeatable under different scanning modes and lighting conditions. This enables us to create accurate colorsync profiles and obtain the purest, most accurate large format scan anywhere. This keeps any additional Photoshop adjustments to a minimum, which better preserves the digital file's integrity for higher quality output. Quality output starts with a quality scan.

Focus: When using a digital camera back, focus can only be set visually on the camera's ground glass. Focus may look good in the viewfinder but still not be optimized for the camera back's CCD sensors.

The Cruse scanner uses state-of-the-art computerized focusing rather than ground glass and a focus knob. The complete elimination of human error guarantees maximum sharpness on all scans. While rarely required, focus can still be customized by the scanner operator for any special requirements.

Lighting: Illuminating a subject evenly using portable lighting is extremely difficult if not impossible. As a result, camera scans must often be digitally retouched, requiring additional time, money, and proofing procedures. Costly digital retouching also contributes to the degradation of files of these lesser quality capturing systems.

Picture Element's Cruse scanner uses a patented Synchron™ lighting system, which provides even illumination across the entire surface of the original, while subjecting it to far less light exposure than other methods of illumination. This allows us to use smaller lens apertures for maximum sharpness, while eliminating any glare points or lighting inadequacies.

Lighting is also adjustable. The artwork moves closely beneath the light source and can be setup in several different configurations. The various "textured" modes used to cast shadows better replicate thick paint strokes and canvas textures than any other copy system around. Some textured copies look so real, it's hard to tell them from the original.

Precision Color: Because the various lighting modes are calibrated and predictable, exact colorsync profiles are made for each, ensuring precise color right from the raw scan.

Image Resolution: Our Cruse scanner is able to capture up to to 1.1 gigabytes of data in 24-bit RGB, or 2.2 gigabytes at 48bit RGB. It can scan up to 48x72" area in a single pass . Larger originals and scan sizes are possible in 2 passes, while smaller prints can be scanned in one pass up to 830dpi (24-bit RGB). This makes it possible for larger reproductions from smaller originals. We usually scan in 24bit color mode because its exacting capturing abilities make 48-bit color unnecessary. We offer both however. Go to pricing and dpi capabilities...

Lens Resolution: Pixels on most digital camera backs are 8 microns apart, and most standard lenses will not resolve anywhere that small. As a result, data is not accurately placed on each pixel, consequently lowering the resolution of the scan.

Lenses used in Cruse scanners are ultra high resolution and are specially commissioned from Schneider/Kreuznach to address the scanner's unique needs and high resolve down to 5 microns surpassing ordinary copy/photography lenses.

Squareness of Camera to Subject: When using a tripod setup, it is impossible to "square" a digital camera perfectly to a wall-mounted subject. As a result, the out of square scan can be difficult to stitch or make square, and sharpness across the entire original is compromised. The Cruse scanner uses a unique method of mounting the camera to a precision perpendicular scanning bed. The camera and scanning head remain stationary, while the perpendicular table moves underneath the lens and light source. This enables the sensor to remain still and undisturbed by mechanical movements, providing exact, consistent corner to corner sharpness from large originals.

Squareness of the Digital Back: During the three-year development of the Cruse scanner, all available digital camera backs were tested for inclusion in the system. None tested were found to be perfectly square; one or more corners were out of focus. The Cruse Company was forced to develop its own precise scan head to meet its stringent requirements.

Multiple Uses: The scanner's unique design enable it to digitally capture mounted and framed artwork (through glass if needed) up to several inches thick. It is also ideal for rare documents, books, blue prints, maps, clothing, artifacts, circuit boards, etc.

Conclusion:

The Cruse scanner offers the same, repeatable even lighting, consistent color, and sharp focus over a variety of scanning modes. The Cruse Synchron table scans are in a class by themselves with no substitute.

From Ezine Articles

Large format scanners are commercially available in a wide range of prices from very low to very high, depending on the quality, speed, resolution, format width, imaging technology, manufacturer, and so on. Color scanners are much more expensive than black and white scanners. For example, while Calcomp offers basic black and white and gray scale scanners at $9,900, their color scanners start only at $12,000 and the higher end models are very expensive (above $30,000). Some of the high-quality scanners, like the Cruse reprographic scanner, are intended for use in libraries and museums only.

From Case Study at savedpictures.com

When digitising old documents and plans, the aim is to reproduce the original as accurately as possible. So not only should the colours be accurate, you have to be able to discern the texture of materials and relief.

Previous processes involving reprographic cameras, slides, digital photography and flat-bed scanners were time consuming, expensive and worse still: they often exposed sensitive originals to intense illumination and other, mechanical dangers. What’s more, the resulting images often left a lot to be desired, and (this should be emphasised) they were not true to the original. Fine details were missed out, fine nuances on the original. Reflected light and shadows spoiled the reproduction.
The Cruse scanner has made all these issues obsolete. The Mainz city archives now digitises highly valuable historical plans with ultimate precision.

From Digital Publishing Solutions

The type of investment required depends on scanning needs and the scanner chosen. Quality standalone large-format scanners can be found in a wide range, with monochrome scanners typically ranging from $7,000 to $25,000 and color scanners typically ranging from $11,000 to $30,000. Specialty scanners can go as high as $150,000.

"The price point hasn’t changed much over the last five years," states Fay, "The cost of a large format scanner is about the same, but today you get more for your money. Five years ago you couldn’t touch a good color scanner for $25,000. Now you can get one for $10,000, like the Océ CS4032—we can’t keep it in stock."

De Winter-Brown adds, "You can get a monochrome scanner for imaging most technical documents for less than $7,000 or you can go up to $35,000 for a high-accuracy, high-resolution device for specialty applications. Our Colortrac SmartLF 4080m, 4080c, and 4080e scanners are all priced under $10,000."

Of course, price depends on how loaded you want your scanner with accessories like stands, receiving trays, and software. Fay continues, "Options include viewing software for editing and enhancement of scanned documents on remote PCs, archiving software for indexing and retrieval, software for scanning single documents into a set with pre-programmed configurations, and accounting software to enable bill-back capabilities."

Portable Digital Library Workstation and Outreach Presentation System: $7,000

• DELL Inspiron XPS M2010 transportable PC with 20” widescreen display, hi-fi sound, multi-connects, integrated camera and mic, wireless keyboard, 2G memory, 100G fast disk drive, CD/DVD Burner, Windows XP Pro OS, Integrated wireless networking,  3-yr Complete-Care Warranty.
• Additional Software (up to $500 of total estimated cost):  MS Office Suite, Adobe Digital Imaging Software – “Elements” non-professional versions of two or more graphics capture and editing tools, anti-virus, etc.
• DELL 2400MP DLP Projector, 50ft. VGA extender cable, (1) 2000 Hr. replacement bulb, 3-yr Complete Care Warranty.
• 92” portable high-definition screen by Draper.

Suggested (but optional) camera system $1,500

• Canon EOS Digital 8 Megapixel camera body (like ours).
• Comes with computer interface software and cable.
• Canon EF 28-135 f/3.5-5.6 IS (Image Stabilization) standard zoom lens.  Keep it simple with just one lens.
• Flash storage disk, U/V lens filter, extra battery / charger, carry case, etc.

assess condition of subject collections
perform conservation and preservation actions for original materials
expand accessability to physical reproductions
address intellectual property concerns
scan photographs into a Digital Library Management System database
document descriptive characteristics (metadata) for every photograph
catalog and register images for finding via online search
implement digital preservation practices for scanned images
create related marketing, communication, and outreach strategies
acquire and deploy supporting hardware, software, and training
establish a basis for successful program implementation and evolution

Surveys have been received from most potential participating organizations.   In development of a grant application, due August 15, major and intermediate level project components and related budget elements need to be identified, investigated, and documented.

At the highest level, the project can be separated into two major components; Preservation and Dissemination. 

Preservation is most significant consisting of  elements such as Professional Assessment, Housing/Environment, Collections Inventory and Organization, Cataloging and Meta-data, Reproduction, and Multi-use characteristics.

Dissemination can be viewed as having both local and global subcomponents.  It also includes activities related to preparation and processing of collections for distribution.  Local issues may involve physical duplication in various forms to support traditional means of consumption.  Global extends to include preparation for and publishing through electronic means; specifically the Internet.

Budget strategy: Unit cost x Time.