# /programs/ourwork/past/digimgcapture.htm

originally: http://www.oclc.org/programs/ourwork/past/digimgcapture.htm

# Digital Image Capture Planning & Topics In February 1997, as part of executing the RLG PRESERV strategic plan, we appointed the RLG Preservation Working Group on Digital Image Capture. By June 1997 the group had produced, in table-of-contents form, a "conceptual framework for creating a Web-based 'virtual' manual on digital image capture." Participants noted that some of the topics included were complex and would be "difficult and time-consuming to create." They expected an effort by RLG to assemble material over time. This framework prompted various RLG activities from 1998 to the present, including: Coordination with the Council on Library and Information Resources (CLIR) and Digital Library Federation (DLF) for the jointly produced Guides to Quality in Visual Resource Imaging. A joint conference on guidelines for digital imaging with the UK-Ireland National Preservation Office and others (see [old RLG path] About RLG: Events: Past Events: [link to "/en/page.php?Page_ID=235"] 1998 RLG-NPO Conference). Publication of Moving Theory into Practice: Digital Imaging for Libraries and Archives, by Anne R. Kenney and Oya Rieger (see RLG Programs Books and Reports). ## Working group RLG Preservation Working Group on Digital Image Capture participants were: Stephen Chapman, (Chair) Harvard University Paul Conway Yale University David Cooper Oxford University David French The British Library Franziska Frey Image Permanence Institute Milan Hughston then Amon Carter Museum James Reilly Image Permanence Institute Anthony Troncale New York Public Library Robin Dale RLG Nancy Elkington RLG Katie Keller then RLG ## Background Both as part of preservation reformatting and as a means of improving of access, the technology and techniques for capturing page images of library and archival materials present great opportunities and challenges to research collections in 1996. RLG's members were already engaged in various efforts, singly or in consultation with others, to capture and store page images for both long-term retention and public service. It was clear that identifying best practices and beginning to codify and standardize approaches would support lasting value, resource sharing, and cost-effective effort. A set of practical guidelines to help librarians make decisions about such issues as image quality, presentation and display options, and storage formats would provide the same kind of value as had our work in brittle materials microfilming in the previous decade. Charge: To develop a pragmatic and implementable plan for the creation of a series of guidelines to be issued as part of a larger body of material on the creation and preservation of digital resources. This might take the form of a nominal table of contents for a manual similar to the RLG microfilming handbooks. Alternatively, the working group could decide they were sufficiently expert to begin to develop the guidelines themselves. Objectives: Develop a content-based specification for a set of guidelines that will assist and support library and archive staff as they engage in digital imaging efforts. Recommend the most effective form of dissemination: print, on the Web, "virtual manual," etc. Develop a plan for the order in which guidelines can and should be developed, as well as a timetable to ensure the timely completion of the work. Recommend most appropriate means for RLG to investigate best practice and developing guidelines for each item in the specification. The Projected Manual of Digital Imaging Guidelines addressed the first two objectives; the others were not pursued in this specific project. ## Projected Manual of Digital Imaging Guidelines From the working group chair: "The Digital Imaging Capture Working Group has prepared a 'conceptual table of contents' for a manual to preservation digitization. I have attached two versions—one long, one abbreviated—for your review. Please consider this a work in progress. Comments received thus far have included: 'This draft doesn't leave much out (the appendices will probably be a 12-volume set).' I think, however, that this is a good place to begin." —Steve Chapman, Harvard University, July 1997 ### 1. Table of contents: long version Introduction Acknowledgments Overview Definitions of Preservation Digitizing Scope and Content of Manual Terminology and Specialized Vocabulary Procedural Guidelines Selection for Digitization Collection Assessment Defining the Original Defining Pictorial Content Establishing Quality Requirements Preparation of Materials for Digitization Scanning to Replace Materials Text and Line Art Visual Collections Scanning to Create Preservation Surrogates Text and Line Art Visual Collections Metadata Creation Creating Derivatives Static Images Dynamic Images Establishing a Quality Control Program Technical Inspection of Images, Metadata, and Storage Media Visual Inspection of Digital Images Hybrid Approaches Film First Scan First Archiving Outsourcing Technical Guidelines File Formats and Compression Digital Masters Derivatives Document Handling Light and Heat Considerations Document Transport Mechanisms Characterization of Scanners Resolution Linearity (tone reproduction) Color (spectral characterization) Noise Flare Characterization of Storage Devices and Media Device Cost and Scalability Media Speed Media Stability Characterization of Output Devices Display Controllers and Monitors Printers and Print Media Film Recorders and Film Color Management System Calibration Appendices Copyright Considerations File Naming Strategies Single-Operator Scanning Setup for In-House Digital Projects Multi-Operator Scanning Setup for In-House Digital Projects Recommended Program for Quality Control of Scanners Quality Control Report Forms Sample Budget Preparation Form Sample Targets Sample RFPs (standard scanning [text/line art], manuscripts and archives, visual materials, microfilm) Selecting a Vendor Scanning Logs Approaches to Scanning: Degraded Materials, Oversize Documents Scanning Technician Job Descriptions Digital Cameras and Their Peculiar Characteristics Microfilm Legacies, Pros and Cons for the Digitization Model Operational Impact of Digital Projects on Library Units Post-Digitization Issues for Special Collections Scholarly Impact of Digital Projects (supply/demand, authentication) ### 2. Table of contents: abbreviated version Introduction Acknowledgments Overview Definitions of Preservation Digitizing Scope and Content of Manual Terminology and Specialized Vocabulary Procedural Guidelines Selection for Digitization Collection Assessment Preparation of Materials for Digitization Scanning to Replace Materials Scanning to Create Preservation Surrogates Metadata Creation Creating Derivatives Establishing a Quality Control Program Hybrid Approaches Archiving Outsourcing Technical Guidelines File Formats and Compression Document Handling Characterization of Scanners Characterization of Storage Devices and Media Characterization of Output Devices Color Management System Calibration Appendices Copyright Considerations File Naming Strategies Single-Operator Scanning Setup for In-House Digital Projects Multi-Operator Scanning Setup for In-House Digital Projects Recommended Program for Quality Control of Scanners Quality Control Report Forms Sample Budget Preparation Form Sample Targets Sample RFPs (standard scanning [text/line art], manuscripts and archives, visual materials, microfilm) Selecting a Vendor Scanning Logs Approaches to Scanning: Degraded Materials, Oversize Documents Scanning Technician Job Descriptions Digital Cameras and Their Peculiar Characteristics Microfilm Legacies, Pros and Cons for the Digitization Model Operational Impact of Digital Projects on Library Units Post-Digitization Issues for Special Collections Scholarly Impact of Digital Projects (supply/demand, authentication)