Digital Image Scanning

1
Digital Image Scanning

• Instructor
• Geri Bunker Ingram
• geri_at_dimema.com
• An Infopeople Workshop
• August 2005

2
This Workshop Is Brought to You By the Infopeople
Project
Infopeople is a federally-funded grant project
supported by the California State Library. It
provides a wide variety of training to California
libraries. Infopeople workshops are offered
around the state and are open registration on a
first-come, first-served basis. For a complete
list of workshops, and for other information
about the Project, go to the Infopeople website
at infopeople.org.
3
Introductions

• Please tell us again, your
• Name
• Library
• Position and role within the Local History
  Project
• Are there lingering questions from yesterday that
  we should discuss?

4
Learning Objectives

• Understand the basics of digital imaging
• Interpret and evaluate scanning specifications
  for your project
• Differentiate among different technology options
  for various formats
• Understand the significance of standard metadata
• Learn about display and navigation options.

5
Agenda

• 9001030 What is Digitization?
• 10301045 BREAK
• 10451200 Technology Infrastructure
• 1200100 LUNCH
• 100230 Metadata, Rights, Quality Control
• 230245 BREAK
• 245400 Effectiveness

6
What is Digitization?
7
What is Digitization?

• Process of digitization
• resolution
• bit depth
• The Local History Project guidelines and
  standards
• The implications of these standards

8
A Refresher on Scanning

• Scanning takes reflected light signals and
  changes them to digital data.
• The resulting digitized image is made up of a
  grid of individual picture elements.
• Picture elements are known as pixels. Pixels
  are made up of binary digits (bits)
• Each bit is expressed as either 0 or 1.

9
Controlling Spatial Detail and Accuracy

• Two settings affect spatial detail and accuracy
  during the scanning process
• bit depth
• resolution (the number of bits sampled)

10
Adjusting Bit Depth

• Binary digit (bit) depth
• number of bits used to define each pixel.
• the greater the bit depth, the greater the number
  of tones (grays or color)
• Black and white (bitonal)1 bit per pixel
• Grayscale8 bits per pixel (256 shades of gray)
• Color24 bits per pixel (16.7 million color
  tones)

11
Adjusting Resolution

• Resolution is a sampling rate
• how many dots per inch will you scan?
• E.g., 400 dpi.
• The effect
• the higher the rate, the smoother the image
• the more it can be magnified before its
  individual pixels become visible
• High resolution many dots per inch
• Low resolution fewer dots per inch

12
Sometimes Resolution Is Expressed As Absolute
Pixel Dimensions

• Pixel dimensions
• (dpi x width) x (dpi x height)
• Example 3200 x 4000 would be the pixel
  dimensions of an 8 x 10 image scanned at 400
  dpi using the formula

13
Storing Your Images

• Very high quality images create very large files
• The higher the resolution, the greater the file
  size
• The higher the bit depth, the greater the file
  size
• For the exercise coming up
• two different formulas
• to figure out how much disk space images need

14
Three Or More Files For Every Image

• Master image
• This is one you do not tamper with, and you
• use a file format that does not lose data when
  you save it.
• Two derivatives
• access (service) image
• small (thumbnail) image.

15
Master Files

• Stored offline
• it is valuable,
• usually too large for common bandwidth
• Not uncommon to have multi-megabyte master
  images.
• The exception is the JPEG2000 format, which
  enjoys a progressive display (details later).

16
Service or Access Images

• By contrast, a common range for the service or
  access image is
• 100 to 500 KB

17
Thumbnail The Smallest Access Image

• A thumbnail may be only a few KB, and typically
  is no larger than
• about 150-200 pixels on a side

18
For the Local History Project

• Full resolution image and large service image
  delivered directly to libraries
• Import either of them to CONTENTdm to derive a
  service image and thumbnail
• Automatic with CONTENTdm software

19
Keeping Your Master

• Retain on your local system, on the CDs
  delivered, or in any other manner you like.
• CDL will also receive a copy of both master and
  derivative,
• Store the master as your preservation copy.
• Important to understand the storage implications
  of your master images

20
Local History Project Scanning

• A common specification has been developed
• Scanning vendor (will have been) selected
• It is still important to understand the
  specification and infrastructure issues.

21
Exercise 1 Calculating File Sizes for Digital
Images
22
Technology Infrastructure
23
Technology Infrastructure

• In this unit we will discuss the hardware,
  software and networking requirements of digital
  projects.
• We will touch on data storage again briefly and
  will delve into the question of compression and
  file formats.

24
The Local History Project

• Will run on computers located around the state,
  connected through the Internet.
• The smooth operation of this distributed
  infrastructure involves not only hardware and
  software, but also depends upon good
  communication among people.

25
All Of This Takes Planning

• All the partners in the project
• including the info tech service providing
  partners
• Must demonstrate good communication skills and
  consistently confer with each other

26
Library Policies

• Security
• Intellectual property
• Policies must be in synch with info tech provider
  
• regardless of whom that may be

27
CDL Will Be Providing Access To Your Collections

• They must be able to protect their networks from
  misuse.
• The end-users must be able to easily access
  unrestricted material.

28
Distributed Architecture

• Designed for the Local History Project, it has
  local libraries feeding material into a central
  databank
• Fairly sophisticated, and yet divides the labor
  according to appropriate tasks.

29
The Local History Project Will Comprise A Set Of
Collections

• Each built locally
• Using the CONTENTdm Acquisition Station software,
  and stored on the CONTENTdm server. The materials
  will be copied to the CDL
• Part of collaborative program for both access and
  preservation

30
Local History Project Offers At Least Three
Outlets For Collections

• The way your metadata will get into the CDL is
  through the use of the CONTENTdm export function.
  
• A customized export/import mechanism writes your
  metadata in the METS format
• You will be trained in its use during your
  CONTENTdm training session

31
Managing The Digital Files

• Because your scanning will have been done by a
  vendor, we will not discuss the attributes of
  scanning software fully.
• But you will need to know something about the
  various pieces of software in use.

32
The Processing That Will Be Done For You Includes

• Scanning representing a print item as a digital
  image. E.g., the software that runs your digital
  camera or your scanner.
• OCR Software if you have text that you would
  like made searchable, software such as Omnipage
  then converts the words in the image to a text
  file that can be searched.
• Lastly, a Digital Asset Management System (e.g.
  CONTENTdm) provides a way to organize the image
  files, make derivatives and add metadata to each
  image.

33
CONTENTdm Selected

• High-performance tool
• Easy-to-use interface
• Will scale as the collections grow
• i.e., it will continue to perform well and be
  manageable even when there are millions of
  objects

34
Hardware From Scanning To Storage

• The lifecycle of collections now includes
  preservation of the digital image.
• Before scanning hardware or specifications are
  set
• consider the technical issues
• for access AND for
• long-term preservation of the digital image

35
Sustaining Collections Over Time

• Data needs to be saved and protected at every
  stage in its life-cycle
• Many ways of accomplishing this are in
  experimental stages

36
Preservation Of Digital Files

• Data migration
• e.g. moving files from CD to DVD
• Backup and archiving plans
• e.g. storing files online or on a central backup
  server
• Disaster recovery plansfor both analog and
  digital resources
• heaven forbid! The library burns down.what
  happens to your CDs, your computers?

37
Preservation Repository Must Also Be Managed

• Sized, weeded, protected and moved
• Because CDL is offering long-term preservation,
• your scans and metadata must meet the standards
  set for the repository!

38
Choosing Among File Formats

• One decision that affects collections
  accessibility and preservation potential is
• The format of the files you choose to keep

39
Many File Formats (LHDRP is requiring these )

• TIFF
• JPEG2000
• GIF
• JPEG
• PDF
• MrSidproprietary, wavelet-based compression for
  progressive display

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Choosing among the file formats means you need to
understand something about what the file format
specification implies.
41
Compression Used To Reduce File Sizes

• Two kindslossy and lossless.
• Lossy- an irrecoverable loss of data,
• considerable size reductions (JPEG).
• Lossless (JPEG2000 and TIFF),
• no loss of data.
• TIFF no loss of data but the file size is not
  reduced
• JPEG2000 no loss of data, but can also reduce
  the size of the file delivered for display, as it
  is decompressed at the point of display.

42
TIFF Tagged Image File Format

• TIFF itu-t.7
• IS A 24-bit storage format in widespread use.
• Useful for both color and bitonal (black white)
  images
• Provides a high level of detail. It is used for
  archival files (masters).
• When compression is used, it should be lossless.

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JPEG Joint Photographic Experts Group/JFIF
(JPEG File Interchange Format)

• JPEGs are commonly used in bitmap image editing
  programs
• e.g., Paintshop
• In viewers, and most important for our project,
• web browsers
• 24-bit, lossy compression format
• Well suited for screen and print presentations.

44
JPEG2000

• Provides highly detailed views of objects
• Not a proprietary format
• but not all software can handle a JPEG2000 file
• both PhotoShop and CONTENTdm have that capability
  
• To view a file saved as JPEG2000, some products
  require a browser plug-in.
• CONTENTdm does not require one, but has a
  built-in viewer in the extended server software.
• CDL does not currently support JPEG2000, so for
  this project, you will not create JPEG2000 files.

45
GIF Graphics Interchange Format

• 8-bit, lossless compression format
• Well-suited to low resolution screen display
• Often used for thumbnails
• Supported by all major computer platforms and web
  browsers

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PDF Portable Document Format

• Proprietary (Adobe) format, now
• de facto standard (is actually several formats)
• All need a plug-in or external application for
  web display,
• but that reader is free to download.
• Widely used for printing and viewing multi-page
  documents

47
A Word About File Naming

• Best practice is to use the standard 8.3
  convention, e.g., house178.txt.
• Use lower-case characters only as some operating
  systems such as Unix are case-sensitive.
• Avoid punctuation characters in filenames
  altogether.

48
File Naming

• Simplea single image
• Compoundmore than one image
• Components need to be named and stored in logical
  fashion
• E.g., when assembling, page_01.jpg will precede
  page_02.jpg (alphanumeric sort)
• E.g., when assembling a hierarchy, items need to
  be stored in logical directories

49
Local History Project Conventions

• Vendor must deliver files named with an
  appropriate scheme
• that works for your library
• And for the Local History Project
• Exercise will focus on file handling
• File formats, naming and organization

50
Hardware

• Digital project hardware components will include
  at minimum
• Servers
• Desktop computers
• Network components

51
Your CONTENTdm Environment

• Server located and managed remotely for the Local
  History Project.
• Computer on your desktop
• Network IT provider uses components
• e.g., routers, cables, access points, network
  interface cards
• to connect everything together and to the
  internet.

52
Data Storage Day-to-day, And Over The Long Haul

• As you populate your collections, it is important
  to back up the workstations and network drives
  regularly. At the site of the CONTENTdm server,
  as well as at CDL, servers will also be regularly
  backed up as well.

53
Digital collection servers

• Remember form follows function.
• Hardware is sized for the project and for the
  environment,
• After the software has been chosen.

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CONTENTdm Server is Hosted by OCLC

• For LHDRP
• One-year license
• After that, depends on funding.if funded could
  be extended

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Considerations If You Run A Server

• Processor style and speed
• Minimum RAM
• Minimum online storage
• These variables always depend upon the context of
  your organization, the operating system
  environments supported, and the application
  requirements.
• The minimum requirements for servers in general
  assure good performance, i.e., you can very
  rapidly search and retrieve dense data, and
  display to many concurrent users.

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CONTENTdm 4 Minimum Server Requirements

• CPU Intel Pentium 4 or greater
• RAM 512 MB minimum
• Operating Systems
• Linux, unix, Sun Solaris 8 or higher, Windows
  2000/2003
• Dedicated Web server
• IIS 4.0 or later with Windows, Apache with UNIX)
  

57
Storage For Files

• Both derivatives (service images and
  thumbnails) are
• kept online
• The archival TIFF is stored offline

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The Files Most Commonly Seen As Derivative
(Access) Files

• JPEGs averaging 100 K (with most CONTENTdm
  collections)
• Estimate 500 jpgs will need about 50 MB space to
  store the access (service, derivative) images
• To size a CONTENTdm server, assume that a
• 1 GB disk
• Will store 10,000 jpgs for high-quality display

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To Populate The Collections, On The Desktop
Contentdm Requires

• Monitor capable of 1024 x 768 resolution
• 256 MB RAM (512 recommended)
• Disk capacity to hold images (temporarily) and
  software
• i.e. 100 MB for installation of Acquisition
  Station
• Windows 2000 or XP
• 128 Kbps minimum network connection

60
A Desktop Wish Listnot Required, But Nice!

• A dedicated computer for digitization with
• A 19 or 21 inch display monitor
• 1 Gb RAM (for multi-media)
• 3.2GHz/800MHz processors optimized for image
  manipulation
• Graphics processors (up to 128 MB dedicated RAM)
  for high quality video, multiple monitors, etc.
• High-quality lupes, scales and updated targets

61
Digitizing Devices Scanners and Cameras

• In this phase of the project, your scanning will
  be outsourced
• But info on scanners and cameras is included here
  for future reference

62
We Will Discuss The Primary Types Of These
Capture Devices

• Flatbed scanners
• Transparency scanners
• Overhead scanners
• Wide format scanners
• Cameras
• Copy stand cameras
• Camera backs

63
The Flatbed Scanner

• Chances are you have one of these in your library
  (or your home). They handle unbound material up
  to 11 x 17 in size, and some come with
  automatic document feeder attachments so that you
  can stack a document for scanning.
• The makes and models vary greatly in cost and
  quality. Some have transparency adapters too, but
  if you have a lot of film (slides) to scan, you
  may look for a specialized scanner just for them.

64
Transparency Scanner

• For transparent material, both negatives and
  slides, there are many makes and models to choose
  from, but a commonly used one is made by Nikon.
• E.g., Nikon LS-2000 Film Scanner
• 36-bit color58mb file size20 second scan
  speed2700 dpi resolution35mm film strip or
  slide format

65
Overhead Scanner

• If you do a lot of interlibrary loan, you may
  already own an overhead scanner. it was designed
  for books, other bound documents, so that the
  page is protected from touch by the machine.
• E.g., Minolta PS 3000 and PS 7000 are widely in
  use

66
Cameras

• For 3-dimensional items and sometimes for
  oversize items, cameras are becoming very
  popular. Discussions on various listservs such as
  imagelib are lively with comparisons of cameras
  from the consumer models we carry on our
  vacations to high-quality professional set ups.
• E.g., Nikon COOLPIX 3100
• Effective pixels 3.2 million (total pixels 3.34
  million)

67
Copy Stands

• are used for long exposures, repeated placement
  of objects, etc.
• An example of a high quality camera and copy
  stand is the Leica S1 Pro Digital Camera used in
  the digitization lab at the University of Utah.
  It is described as
• Triple linear color CCD line, high-performance
  full step motor.
• Full scan time is 185 seconds. Viewfinder offers
  laterally correct image on a focusing screen with
  a grid.
• Produces file sizes of
• 75MB at 36 bit color or
• 150MB at 48 bit color.

68
Camera Specification

• Resolution for cameras is often given as the
  total number of pixels delivered by a device. For
  example, a camera may be described as x number
  of mega-pixels
• A mega-pixel is 1,000,000 pixels.
• E.g., Canons S45 (4.5 Megapixel) maximum
  resolution 2272 x 1704 which if you do the math,
  is closer to 3.8 megapixels

69
For Highest Quality Professional Work

• Photographers fit 4x5 traditional film cameras
  with camera backs that store the images
  digitally instead of in analog format. E.g.,
  PhaseOne PowerPhase-- a digital back to a 4x5
  view camera that can produce resolutions of
  10,000 x 12,000 pixels.

70
Camera vs. Scanner

• Scanners and cameras share broadly similar
  technologies, and at this point there are
  negligible quality differences at the high end.
  Of course scanners can only handle 2-dimensional
  or flat images, while cameras can handle both
• 2-dimensional and 3-dimensional objects.

71
Digital CamerasVersatile and Fast

• They are preferred for delicate or fragile
  originals and increasingly for large flat works
  such as maps and aerial photos.
• But the lighting is hard to control to get
  professional quality work you may find yourself
  hiring a professional photographer to come in.
  Rare materials should not be subjected to strong
  light of course, so if doing that sort of
  photography in-house, you might use a strobe
  light.

72
Prints From Digital What Does The User Need?

• Many libraries are creating revenue generating
  (cost-recovery) programs that provide prints from
  the collection.
• With the advent of digitization programs, these
  prints are increasingly made from digitized
  copies of the original.
• Occasionally users even purchase the digital file
  itself.

73
Cost of Commercial Printer

• To serve the occasional professional user
• Outsource to a commercial house or offer to sell
  the digital image instead.
• Pro-sumer photo-quality printers can be had for
  under 100
• e.g., Canon i560s
• Some of your users may prefer to buy the TIFF and
  print at home

74
IF You Print From Digital, You Will House Large
Files

• The BH Photo house in New York City estimates
  these file sizes for good output
• Up to 3 MB          Good for proofing, web use,
  presentations     3-20 MB         
  Good for up to 8x10 prints   21-50 MB         
  Good for up to 16x20 prints   51-99 MB         
  Good for up to 24x30 prints100-125MB         
  Good for over 24x30 prints

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Networking Puts It All Together

• To move your digital images from your workstation
  to your CONTENTdm server, you will use the
  internet.
• Your connection should have sufficient bandwidth
  for the digital formats you are importing.
• Your users will of course need to have
  connections strong enough to download the images
  in real time.

76
Speeds

• T1 1.544 million bits per second (Mbps)this
  bandwidth is sufficient for building the
  collection.
• T3 45 Mbps of course this is even better, much
  faster.

77
Wireless

• The most popular wireless mode
• 802.11 b/g (WiFi)
• shared 11 Mbps for b and 33-54 Mbps for g.
• This should be quite adequate for your end-users
  to access your collections.

78
Security

• Network access is made secure through various
  methods,
• IP ranges (addresses like 209.116.xxx.xxx)
• Passwords
• Mixed models
• Integrated with a parent organizations model!

79
Exercise 2Materials Preparation
80
Metadata, Rights, Quality Control
81
Metadata

• Standards and schemes
• Access and preservation
• A full one-day workshop on the metadata
• Template for Local History Project in Project
  Guide

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A Refresher What Do We Mean By Metadata?

• Metadata is information about the digital
  object.
• Good metadata helps in finding and preserving a
  digital object or aggregation of digital objects.
  

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Metadata Schema Examples

• AACR2 (MARC format)
• Dublin Core (DC)
• Visual Resources Association Core (VRA Core)
• Metadata Object Descriptive Schema (MODS)
• Encoded Archival Description (EAD)

84
Types of Metadata

• Descriptive
• Administrative
• Structural
• Technical
• Preservation

85
Descriptive Metadata

• Terms that say what the digital object
  representswhat it is about
• Its what your users expectit identifies the
  information resources in a way that allows them
  to be discovered.

86
Administrative Metadata

• Facilitates both short-term and long-term
  management and processing of digital collections
• Includes data pertinent to the creation of the
  digital object
• Includes rights management, access control and
  use requirements

87
Structural Metadata

• Facilitates navigation and presentation
• Provides information about the internal structure
  of resources
• including page, section, chapter numbering,
  indexes, and table of contents
• Describes the relationship among materials (e.g.,
  photograph B was front of Postcard A)

88
Technical Metadata

• Describes the features of the digital file
• e.g. resolution,
• pixel dimensions,
• and the compression factor used in saving the
  file.

89
Preservation Metadata

• The ability to preserve your digital resources
  into the future depends in part on how completely
  youve applied metadata, especially
• administrative
• structural
• technical metadata

90
LHDRP, CONTENTdm and the Dublin Core

• Format
• Identifier
• Source
• Language
• Relation
• Coverage
• Rights
• CONTENTdm offers Audience too

• Title
• Creator
• Subject
• Description
• Publisher
• Contributor
• Date
• Type

91
You Will Use These Elements To Describe Your
Collections

• At the item level
• during the CONTENTdm building process.
• Later, your collections will be
• exported
• Imported to OAC
• Metadata and CONTENTdm classes scheduled
• There we will delve into applying the Dublin Core
  element set

92
Rights Metadata

• When material needs to be restricted
• The reasons should be made clear to the
  end-users,
• If possible, the right to access the objects
  should be negotiated.
• You will have to clear your materials of any
  restrictions so that they can be freely displayed
  on the CDLs public access site(s).

93
Access To Contentdm Server

• The Dublin Core Rights field can be used to
  explain the rights situation for the item
• Mechanisms in place to allow you to restrict
  access to materials at the item and the
  collection level.
• Some commonly used mechanisms for controlling
  access to digital materials are user
  name/password challenges and IP (internet
  protocol) address ranges.

94
CONTENTdm

• Uses both usernames/passwords and IP ranges
• Control access at the collection and the item
  level
• When your users are viewing your images on a
  CONTENTdm server.

95
Quality control

• Getting the materials off to the vendor
• appropriately packed, tagged and flagged
• Getting the materials back from the vendor
• what will you check for?
• texts and photosdifferent things to look for

96
Texts And Images Of Texts

• The scan produces a file in image format, which
  in itself is not searchable
• There are a number of ways to create searchable
  text from images of text.

97
Converting Images To Text

• Re-keying
• very expensive, but high-quality
• handwritten text, or foreign language fonts
• you will have to create typescripts by hand.
• OCR (Optical Character Recognition) is the
  automated way
• With correction, expensive,
• but without correction lower accuracy

98
What is OCR?

• OCR engines are
• pattern recognition algorithms which can
• convert images of alphanumeric characters
• into machine-recognizable characters.

99
OCR Has Been Around Since The 1970s

• Much research to improve accuracy and extend the
  readable language sets.
• Very expensive in the early days
• Available to desktop consumers in the mid-late
  1990s

100
Now There Is Decent Pro-sumer Desktop Software

• Such as AbbyyFine Reader available
• (e.g., this is offered as an extension of
  CONTENTdm.)
• Service bureaus (vendors) have also developed
  proprietary software
• get up to 90 accuracy
• can handle large volumes
• use filters, formulas and multi-pass methods

101
The Problem With OCR

• When used on barely legible old texts, film,
  etc., creates dirty ASCII
• Guesses are saved in a string
• not intended for human view. (These should be
  cleaned up if display is important.)
• can hide the dirty ASCII from display but allow
  the search engine to index on it

102
To What Degree Is The Accuracy Of The OCR
Important?

• This depends on the quality of the image being
  processed, and on the intended use of the
  captured text.
• A rule of thumb high resolution, greater
  bit-depth gives more accurate OCR (and larger
  file sizes).

103
Imaging Vendor ChecklistIdentifying
Unacceptable Scans

• Image not correct size
• File name is incorrect
• File format is incorrect
• Loss of detail
• Too light or too dark
• Image cropped incorrectly
• Image rotated incorrectly
• Image reversed

104
Identifying Correct Packaging Of Digital Materials

• Object identifier
• The order of the compound objects parts
• corresponding file names and directory structure
  
• Verify to CALIFA

105
Exercise 3Quality Control
106
Effectiveness
107
What Is Success ?

• Best practices in the digitization process,
  evaluation and quality control.
• Usability testing
• As technology changes,
• as long as you are relying on agreed-upon
  standards,
• You will be able to go back and correct, improve
  and expand.

108
User-driven Purposes

• Many reasons for undertaking a digitization
  project,
• All include to improve and expand end-user access
  to your materials.
• Even preserving the content and conserving the
  originals
• It is because someday a person may need to access
  the resource

109
Late Turn-of-the-century History

• Regular use of digitization in cultural heritage
  organizations
• such as libraries and archives
• Leaders in the field like the California Digital
  Library, the Digital Library Federation
  documented best practices

110
Principles, Part 1

• Leading practices proven over time
• Scan at the highest resolution appropriate to the
  informational content of the originals
• Scan at an appropriate level of quality to avoid
  rescanning and re-handling of the originals in
  the futurescan once
• Create and store a master image file that can be
  used to produce derivative image files and serve
  a variety of current and future user needs
• Use image file formats and compression techniques
  that conform to industry standards
• Create backup copies of all files on a stable
  medium

111
Principles, Part 2

• Create meaningful metadata for image files or
  collections
• Store media in an appropriate environment
• Monitor and recopy data as necessary
• Outline a migration strategy for transferring
  data across generations of technology
• Anticipate and plan for future technological
  developments
• Scan (or have your vendor scan) at the
  appropriate settings for source material
• Inspect master images at 100 magnification (all
  or a sample)

112
Local History Project Standards

• The California State Library, CALIFA and CDL
• Partnered to create a set of standards for
  digital imaging and metadata
• To ensure that your collections are accessible to
  your public and well-preserved into the future.
• Selected a digital collection management tool
• Prepared a straightforward path for your
  materials from CONTENTdm to the CDL

113
Lets Revisit Our Project Plans

• And make sure we chart our course for the next
  steps!

114
Exercise 4Assessing and Improving Your Local
History Project
115
Conclusion

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