Digitization Projects at Yale - Digital Coffee · Connecticut Library Association Conference Monday May 7, 2012 YALE UNIVERSITY Beinecke Rare Book & Manuscript Library Yale Center

Connecticut Library Association Conference

Monday May 7, 2012

YALE UNIVERSITY

Beinecke Rare Book & Manuscript Library

Yale Center for British Art

Digitization Projects at Yale from Digital Capture to Collaboration and Dissemination

Rapid Imaging and Publication Capture: Workflows, Choices and End Users –

Chris Edwards, Beinecke Rare Book & Manuscript Library

Open Access, Collaboration and Dissemination –

Melissa Gold Fournier, Yale Center for British Art

for the Connecticut Library Association Conference

Monday May 7, 2012

YALE UNIVERSITY


Digitization Projects at Yale

Rapid Imaging and Publication Capture:

Workflows, Choices and End Users


The Issues, Why Rapid Imaging:

• High demand for digital surrogates of materials for research purposes

• Discovery images needed for display in the Beinecke Digital Library

• Rare Books and Manuscripts are generally too fragile or valuable for traditional Mass Digitization

• Collections are stored in such a way as to facilitate Rapid Imaging

• Limited (expensive) digitization choices offered to patrons faculty and staff

• High amount of handling of popular items

• Several large collections in the cue for digitization



Hardware

•Canon EOS 1-DS Mark III

•Canon EF 24-70 f 2.8 Lens

•Kaiser R1 System

•Dell Latitude D830 Core 2 Duo

•LaCie 2 Terabyte External Hard

Drive w/USB 2.0

•Uline Wire Utility Cart, 36w x 24d x

39h

Software

•Canon EOS Utility

•Adobe CS5 w/Bridge and Camera

RAW 6.4.1

•Adobe Digital Negative Converter

Rapid Imaging Project (RIP)


Rapid Imaging Examples:


New Directions: Negative and Transparency Digitization

The Issues, Why High Resolution:

• High resolution captures needed for publication and reproduction uses

• Some of Beinecke Library material too rare or valuable to outsource or remove from the building

• Materials or objects are too fragile for repeated digitization

• Material too specialized to merit repeated digitization

• Ways in which objects are stored

• Specific need is in place for image

• Unknown future needs for images

• Conservation Imaging needs



Hardware

•Better Light Super 8K scan back

camera

•ZBESatellite 4x5 camera stand

and controller

• North Light HDI lights

Software

•Better Light Viewfinder 7.2.1

•Adobe CS3

High Resolution


High Resolution Publication Quality

Images:

Rapid vs. “Traditional”


http://beinecke.library.yale.edu/digitallibrary/

www.library.yale.edu/beinecke/brblresearch/copyright.html


Image Dissemination:

Yale Digital Coffee:

http://www.yale.edu/digitalcoffee/


for the Connecticut Library Association Conference

Monday May 7, 2012

YALE UNIVERSITY


Digitization Projects at Yale

Open Access, Collaboration and Dissemination

What is Yale University’s Open Access Policy?


General Principle:

The preservation, transmission, and advancement of knowledge in

the digital age are promoted by the creative use and reuse of

digitized content for research, teaching, learning, and creative

activities. The goal of digitization is to enhance access to the

collections in Yale’s museums, archives, and libraries for students,

faculty, and the world.

To this end, Yale will make digital copies of unrestricted public

domain collections available for use without limitations through the

University’s electronic interfaces.

For the full policy, see http://odai.yale.edu/open-access-collections

http://odai.yale.edu/open-access-collections


Brief Background / Timeline on Open Access in the Field

Editorials, Policies and Studies

1990’s – College Art Association statement (fees having a profound effect on scholarship, arguments

for fair use)

2004 – Mellon Foundation Study on Reproduction charging models & rights policy for digital images

in American art museums

2005 – Ken Hamma in D-Lib, “Public Domain Art in an Age of Easier Mechanical Reproducibility

2009 – Max Planck Institute Report, “Best Practices for Access to Images: Recommendations for

Scholarly Use and Publishing”

Movements/Response in the Museum Community

2007 – Metropolitan Museum of Art / ARTstor Images for Academic Publishing

2007 – Victoria and Albert (educational/scholarly use)

British Museum

2011 – LACMA

2011 – Walters Art Museum, Baltimore


Yale University Open Access Policy, Continued….

Copyright: Yale University fully supports the protection of intellectual property and is

committed to complying with and strictly adhering to all applicable copyright law.

Privacy: Yale University respects the right to privacy of individuals and groups and is

committed to complying with and strictly adhering to all applicable legal requirements in

protecting that privacy.

Donor Restriction: Yale University is committed to strictly adhering to provisions embodied

in agreements with donors of collections.

Yale Marks/Name: The use of the Yale name or trademarks for any purpose – other than

standard source citation (see Acknowledgement below) – requires the prior approval of the

Office of the Vice President and Secretary, Contact information for this office may be found

at: http://www.yale.edu/licensing/general.html

Acknowledgement: Users are asked to attribute the work in the manner specified by the

applicable museum, library, or archive guidelines, without suggestion of endorsement.

http://www.yale.edu/licensing/general.html

What makes Yale’s policy different? (and why?)

Jacques-Laurent Agasse, 1767-1849, Swiss, active in Britain (from 1800), Old

Smithfield Market, 1824, Oil on canvas, Yale Center for British Art, Paul Mellon Collection


Movements within Yale


Collaboration


The Adoption of the Policy


Policy Drivers

University Mission

Leadership for Cultural Heritage Institutions

Financial Considerations

Legal / Unenforceable Restrictions

Open Access Challenges

Philippe Mercier, 1689 or 1691-1760, Franco-German, active in Britain (from 1716), The

Sense of Hearing, 1744 to 1747, Oil on canvas, Yale Center for British Art, Paul Mellon Collection

To Learn More…

[email protected]

,William Bell Scott, 1811-1890, Ailsa Craig, 1860, oil on canvas,

Yale Center for British Art, Paul Mellon Collection

Yale University yale.edu

Discover Yale Digital Content discover.odai.yale.edu

Yale Center for British Art britishart.yale.edu

Alfred Joseph Woolmer, 1805-1892, Interior of the British Institution,

1833, Oil on canvas, Yale Center for British Art, Paul Mellon Collection

Open Access and Projects for Display and Dissemination


britishart.yale.edu


Image Availability for Public Domain Works

YALE UNIVERSITY



Contacts and Resources

Yale Collections

Discover Yale Digital Content | discover.odai.yale.edu

Beinecke Rare Book and Manuscript Library | library.yale.edu/beinecke

Yale Center for British Art | britishart.yale.edu

Yale University Art Gallery | artgallery.yale.edu

Yale Digitization Resources

Beinecke Digital Studio Website | beinecke.library.yale.edu/brbltda

Digital Coffee | yale.edu/digitalcoffee

[email protected]

[email protected]

Documents

Digitization Projects at Yale - Digital Coffee · Connecticut Library Association Conference Monday May 7, 2012 YALE UNIVERSITY Beinecke Rare Book & Manuscript Library Yale Center