From akeshet at imj.org.il Wed Oct 1 22:56:53 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Thu, 2 Oct 2008 07:56:53 +0200 Subject: [MCN-L] FW: update on orphan works legislation Message-ID: <149FDECF7500014B85D070C43C708BE703E64C01@mail3.imj.org.il> -----Original Message----- (via Peter Brantley) wired blog notes that the orphan bill is likely DoA in the house after a positive vote in the senate, as a result of the wee little fiscal problem confronting the country - http://blog.wired.com/27bstroke6/2008/09/orphan-works-co.html "Lost in the House of Representatives' push to pass $700 billion bailout legislation is the so-called Shawn Bentley Orphan Works Act of 2008. "Late Friday, the Senate passed the measure and sent it to the House, where it landed dead on arrival. "The act changes the rules and reduces and sometimes nullifies damages for infringing uses of so-called "orphaned" works as long as there was a "diligent" effort to locate the copyright owner. Orphaned creative works are those in which the copyright holder cannot be promptly located. "Lobbyists have assured [wired blog] that the House, which is mired in trying to broker an economic revival package, won't take up the measure, at least not until after the November elections." From akeshet at imj.org.il Thu Oct 2 04:13:04 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Thu, 2 Oct 2008 13:13:04 +0200 Subject: [MCN-L] New Report: "Beyond the Silos of the LAMs: CollaborationAmong Libraries, Archives and Museums" Message-ID: <149FDECF7500014B85D070C43C708BE7A661D3@mail3.imj.org.il> First prize for awesome report name. Amalyah Keshet -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Waibel,Guenter Sent: Monday, September 29, 2008 10:45 PM To: Museum Computer Network Listserv Subject: [MCN-L] New Report: "Beyond the Silos of the LAMs: CollaborationAmong Libraries, Archives and Museums" I thought that this new report would be of interest to an MCN audience. The workshops which led to the findings of the report had ample museum participation - we conducted workshops at the Smithsonian and the Victoria & Albert, and the university workshops at Edinburgh, Princeton and Yale also had excellent representation from the campus museums. If you'd like to learn what others are doing at the intersection of libraries, archives and museums, and how to build successful collaborations, this report is for you! http://www.oclc.org/programs/publications/reports/2008-05.pdf Cheers, G?nter ***Excuse Cross-Posting*** Dear Colleagues, I'd like to alert you that our latest publication, a report on library, archive and museum collaboration by our contractor, Diane Zorich, and Program Officers G?nter Waibel and Ricky Erway, "Beyond the Silos of the LAMs: Collaboration Among Libraries, Archives and Museums," (.pdf: 334K/59pp) is now available on the RLG Programs Web site at http://www.oclc.org/programs/publications/reports/2008-05.pdf. The report highlights lessons learned from five LAM workshops held at RLG Partner institutions in the US and the UK, and contains information about inspiring collaborative projects in campus environments. The bulk of the report, however, is dedicated to the catalysts which allow collaboration to thrive. These insights should be helpful to anyone who is trying to foster deeper working relationships. Next year, you'll have the opportunity to hear from many of the workshop participants in person. The Committee on Archives, Libraries and Museums (CALM) has endorsed a series of panel presentations at ALA, SAA and AAM during 2009, which will give workshop participants from University of Edinburgh, Princeton University, the Smithsonian Institution, the Victoria and Albert Museum, and Yale University a platform to share the progress their institutions have made in aligning the efforts of their collecting units to provide a better experience for their respective audiences. Questions or comments regarding this report can be directed to G?nter Waibel, Program Officer, at waibelg at oclc.org. Please also get in touch with G?nter if you'd like to be added to our library, archive and museum collaboration mailing list. Best regards, Melissa Melissa Renspie Senior Communications Officer OCLC Programs and Research 6565 Kilgour Place Dublin, OH 43017-3395 Phone: (614) 761-5231 FAX: (614) 718-7585 E-mail: melissa_renspie at oclc.org _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From psully at magnes.org Thu Oct 2 08:36:52 2008 From: psully at magnes.org (Perian Sully) Date: Thu, 2 Oct 2008 08:36:52 -0700 Subject: [MCN-L] Web vs. 'real world' visitors In-Reply-To: <785EF3E8EEBF554DBBCC6909943D22B705C477FC@saturn.lacma.org> References: <831DFF518273CF47835B4CF4331D6D2F61A588@saturn.lacma.org><785EF3E8EEBF554DBBCC6909943D22B705C477F4@saturn.lacma.org><6440C474B3F6FE4EB44B34421B3E501E0E383B5A5A@dtes01.SAM.home> <785EF3E8EEBF554DBBCC6909943D22B705C477FC@saturn.lacma.org> Message-ID: I hope no one minds if I ask a really basic question - is there a preferred methodology for collecting the data? The Magnes is an unusual case in that we don't have a whole lot of foot traffic and, up until now, have not had much online traffic either. It's likely to swing heavily to the online visitor in the next couple of months as we focus our energies there. There has been much discussion about developing a survey and tracking audience metrics, but if we can develop something which could be added to an already existing data pool, so much the better. So is there a standard set of analytics and questions we should be asking and would also benefit the rest of the field? Perian Sully Collections Information and Web Programs Manager Judah L. Magnes Museum -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Folsom, Diana Sent: Tuesday, September 30, 2008 1:13 PM To: Museum Computer Network Listserv Cc: Tim Hart Subject: Re: [MCN-L] Web vs. 'real world' visitors Tim Hart responded off list. Here are the messages he sent to Christina and me. To Christina from Tim: "I would be happy to create a survey and publish the data here: http://www.getty.edu/about/institutional_research/snapshot_visits.html Do you think anyone would fill it out on a regular basis? Monthly?" To Diana from Tim: "First I tried to get people to share data in Los Angeles (local museums). That didn't work. Then I formed the Public Sector Committee at the Web Analytics Association (I was a founding co-chair) and that didn't work. But, not to despair, I'm now leading a project where 12 local museums are participating in an audience intercept study... its happening as I write. Hopefully this collaboration will be a starting point for further sharing of audience metrics. Reasons Web data sharing initiatives fail: Most museums don't have somebody on staff who can handle the extra work. Too many different analytics technologies (not all data is created the same). Too many possibilities for analytics implementation variation. Difficulty in categorizing content (what is "education" content anyway?). Many institutions don't see the value in sharing (in spite of what we were taught in kindergarten). Etc., etc." Diana -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Christina DePaolo Sent: Tuesday, September 30, 2008 10:46 AM To: Museum Computer Network Listserv Cc: Tim Hart Subject: Re: [MCN-L] Web vs. 'real world' visitors If there was an process for electronically sharing them vs. filling out a survey or manually sharing stats, then maybe it would easier for us to do a broader survey. Christina -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Folsom, Diana Sent: Tuesday, September 30, 2008 10:39 AM To: Museum Computer Network Listserv Cc: Tim Hart Subject: Re: [MCN-L] Web vs. 'real world' visitors Tim Hart (from the Getty) has been trying to organize us all to share web data with each other for several years. I think he might compare the effort to that of "trying to herd cats". (excuse me for putting words in your mouth, Tim!) http://www.ehow.com/how_2023491_herd-cats.html Perhaps this is a moment in time when we might feel more inclined to share our stats in some way... ?? Diana Diana Folsom Manager, Art & Education Systems Collections Management Dept. LACMA 5905 Wilshire Blvd. Los Angeles, CA 90036 voice 323-857-6594 fax 323-857-6213 Check out new material in LACMA's Collections Online http://CollectionsOnline.lacma.org -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Montgomery, Renee Sent: Tuesday, September 30, 2008 8:14 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] Web vs. 'real world' visitors Is someone collating these facts and figures? I know there are some older reports but is there a recent update? Obviously is very helpful to have comparative stats to help build cases on the homefront. Thank you. Renee Montgomery Assistant Director Risk Management and Collection Information Los Angeles County Museum of Art T 323 857-6059 -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Champagne, Joanna Sent: Monday, September 29, 2008 12:29 PM To: Museum Computer Network Listserv Subject: Re: [MCN-L] Web vs. 'real world' visitors Hello, This past fiscal year we had just over 4 million physical visitors (like the Web some may be repeat, but not as many as the online) to the National Gallery and 20,800,523 visits to the Web site. 50.8% of our 62 Podcasts were downloaded to iTunes this past FY year the rest from our site and widget. We have 559 installs of our Podcast widget. Hope that helps. Best, Joanna ................. Joanna Champagne Chief of Web and New Media Initiatives National Gallery of Art NGA.GOV On 9/29/08 1:48 PM, "Perian Sully" wrote: > Dear Nancy: > > Have you seen the IMLS Interconnections report? > http://www.interconnectionsreport.org/ > > Lots of hard data about some of the questions you're asking. The > slideshow provides a nice summary as well on the report. > > Perian Sully > Collections Information and Web Programs Manager Judah L. Magnes > Museum > > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Nancy Proctor > Sent: Monday, September 29, 2008 10:33 AM > To: mcn-l at mcn.edu > Subject: [MCN-L] Web vs. 'real world' visitors > > Does anyone have any hard numbers on overall museum trends in numbers of > online visitors versus footfall in the bricks & mortar museums? My > anecdotal sense from talking to various museum professionals is that > online traffic is 3-10 times the in-person visitorship, but I'd like > to be able to cite an > actual study. > > It would also be great to know what percentage of museums' online > traffic is to content that is not resident on their websites, e.g. > Podcasts on iTunes/iTunes U, and videos on YouTube, if anyone has > those stats for your own museum or others'.... > > ...And the next step is to show what great return on investment our > digital initiatives provide, since we reach many more people online > than in person, and buildings are relatively expensive to maintain. > This is not to challenge the primacy and importance of the real world > buildings and collections, > but > simply to underscore how much reach digital teams can achieve for > comparatively little money. > > Many thanks! > Nancy > > Nancy Proctor > Head of New Media Initiatives > > Smithsonian American Art Museum (SAAM) MRC 970 PO Box 37012 Washington > DC 20013-7012 USA > > o: +1-202-633-8439 > f: +1-202-633-8455 > c: +1-301-642-6257 > > proctorn at si.edu > > http://www.americanart.si.edu > http://eyelevel.si.edu/ > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum > Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From RealW at CarnegieMuseums.Org Thu Oct 2 08:58:10 2008 From: RealW at CarnegieMuseums.Org (Real, Will) Date: Thu, 2 Oct 2008 11:58:10 -0400 Subject: [MCN-L] Measures of Success Message-ID: <04EFDDC9208D114890720783D4924BEB17980D9C@EXCHANGE-4.Private.CarnegieMuseums.Org> Hi everyone, great discussion on the Web vs. Real World visitors thread. I have a related question. We have already successfully made the case to our administration and board, as part of an ongoing strategic planning process, to significantly increase our use of technology as a way of engaging our public. We have articulated several initiatives and have now been asked to provide a means to determine how successful these initiatives turn out to be. How do we know we have achieved what we hoped to? Do we articulate our goals in strictly quantitative terms (web analytics, survey results, etc.) or are there other, less tangible measures? I personally find the number-based benchmarks to be tricky. For instance, is a blog "successful" if it generates a certain number of comments? Or is a blog successful if it manages to change the museum's internal culture to be more transparent and outwardly-focused, regardless of the number of hits or comments? We are also aware that while we cannot set the bar for success too high (thus setting ourselves up to fail), we can't set it too low either (lest it be perceived as too trivial to be considered a success). I'd be interested to hear from anyone, on- or off-list, who has been through a similar process and has any advice or suggestions. Will William Real Director of Technology Initiatives Carnegie Museum of Art 4400 Forbes Ave Pittsburgh, PA 15213 412.622.3267 412.622.3112 (fax) www.cmoa.org Join our email list for exhibition and event news: http://members.carnegiemuseums.org/email Member Exclusives! Insider e-newsletters-plus private previews, e-invites, free admission, and more when you join online: http://members.carnegiemuseums.org/SupportCMP From THart at getty.edu Thu Oct 2 09:05:27 2008 From: THart at getty.edu (Tim Hart) Date: Thu, 02 Oct 2008 09:05:27 -0700 Subject: [MCN-L] Web vs. 'real world' visitors In-Reply-To: References: <831DFF518273CF47835B4CF4331D6D2F61A588@saturn.lacma.org><785EF3E8EEBF554DBBCC6909943D22B705C477F4@saturn.lacma.org><6440C474B3F6FE4EB44B34421B3E501E0E383B5A5A@dtes01.SAM.home> <785EF3E8EEBF554DBBCC6909943D22B705C477FC@saturn.lacma.org> Message-ID: <48E48ED6.5A2A.00A2.0@getty.edu> I think we're talking about two different things, the tracking software (Web Analytics) and the survey to bring everyone's data together. As for tracking software, a big shift began 3 or 4 years ago from log file analysis to JavaScript page tagging. There are numerous benefits that come with page tagging that I won't elaborate here. But even if all of us are using tagging strategies there is still the problem if different numbers from different applications or services. Google vs Omniture vs Webtrends will all produce different data for the same Web Site. In the past I've sought to sidestep this issue by simply reporting whatever data sister institutions collect, and simply noting alongside that data how it was collected, if bots/spiders were filtered (an issue with log analysis) how visits are determined (typically a "session" from an unique IP combined with browser data and a 30 minute time out after inactivity). Once you have begun to collect stats by whatever method, we would collect everyone's data in a survey that would ask for information about the collection methodology as well as the raw numbers. FWIW we use Omniture SiteCatalyst, think it's great, but it's also pricey. Google will get you much of what you need. WebTrends claims to have most of the government's business. Stay away from log analysis if you can help it. >>> "Perian Sully" 10/2/2008 8:36 AM >>> I hope no one minds if I ask a really basic question - is there a preferred methodology for collecting the data? The Magnes is an unusual case in that we don't have a whole lot of foot traffic and, up until now, have not had much online traffic either. It's likely to swing heavily to the online visitor in the next couple of months as we focus our energies there. There has been much discussion about developing a survey and tracking audience metrics, but if we can develop something which could be added to an already existing data pool, so much the better. So is there a standard set of analytics and questions we should be asking and would also benefit the rest of the field? Perian Sully Collections Information and Web Programs Manager Judah L. Magnes Museum -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Folsom, Diana Sent: Tuesday, September 30, 2008 1:13 PM To: Museum Computer Network Listserv Cc: Tim Hart Subject: Re: [MCN-L] Web vs. 'real world' visitors Tim Hart responded off list. Here are the messages he sent to Christina and me. To Christina from Tim: "I would be happy to create a survey and publish the data here: http://www.getty.edu/about/institutional_research/snapshot_visits.html Do you think anyone would fill it out on a regular basis? Monthly?" To Diana from Tim: "First I tried to get people to share data in Los Angeles (local museums). That didn't work. Then I formed the Public Sector Committee at the Web Analytics Association (I was a founding co-chair) and that didn't work. But, not to despair, I'm now leading a project where 12 local museums are participating in an audience intercept study... its happening as I write. Hopefully this collaboration will be a starting point for further sharing of audience metrics. Reasons Web data sharing initiatives fail: Most museums don't have somebody on staff who can handle the extra work. Too many different analytics technologies (not all data is created the same). Too many possibilities for analytics implementation variation. Difficulty in categorizing content (what is "education" content anyway?). Many institutions don't see the value in sharing (in spite of what we were taught in kindergarten). Etc., etc." Diana -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Christina DePaolo Sent: Tuesday, September 30, 2008 10:46 AM To: Museum Computer Network Listserv Cc: Tim Hart Subject: Re: [MCN-L] Web vs. 'real world' visitors If there was an process for electronically sharing them vs. filling out a survey or manually sharing stats, then maybe it would easier for us to do a broader survey. Christina -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Folsom, Diana Sent: Tuesday, September 30, 2008 10:39 AM To: Museum Computer Network Listserv Cc: Tim Hart Subject: Re: [MCN-L] Web vs. 'real world' visitors Tim Hart (from the Getty) has been trying to organize us all to share web data with each other for several years. I think he might compare the effort to that of "trying to herd cats". (excuse me for putting words in your mouth, Tim!) http://www.ehow.com/how_2023491_herd-cats.html Perhaps this is a moment in time when we might feel more inclined to share our stats in some way... ?? Diana Diana Folsom Manager, Art & Education Systems Collections Management Dept. LACMA 5905 Wilshire Blvd. Los Angeles, CA 90036 voice 323-857-6594 fax 323-857-6213 Check out new material in LACMA's Collections Online http://CollectionsOnline.lacma.org -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Montgomery, Renee Sent: Tuesday, September 30, 2008 8:14 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] Web vs. 'real world' visitors Is someone collating these facts and figures? I know there are some older reports but is there a recent update? Obviously is very helpful to have comparative stats to help build cases on the homefront. Thank you. Renee Montgomery Assistant Director Risk Management and Collection Information Los Angeles County Museum of Art T 323 857-6059 -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Champagne, Joanna Sent: Monday, September 29, 2008 12:29 PM To: Museum Computer Network Listserv Subject: Re: [MCN-L] Web vs. 'real world' visitors Hello, This past fiscal year we had just over 4 million physical visitors (like the Web some may be repeat, but not as many as the online) to the National Gallery and 20,800,523 visits to the Web site. 50.8% of our 62 Podcasts were downloaded to iTunes this past FY year the rest from our site and widget. We have 559 installs of our Podcast widget. Hope that helps. Best, Joanna ................. Joanna Champagne Chief of Web and New Media Initiatives National Gallery of Art NGA.GOV On 9/29/08 1:48 PM, "Perian Sully" wrote: > Dear Nancy: > > Have you seen the IMLS Interconnections report? > http://www.interconnectionsreport.org/ > > Lots of hard data about some of the questions you're asking. The > slideshow provides a nice summary as well on the report. > > Perian Sully > Collections Information and Web Programs Manager Judah L. Magnes > Museum > > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Nancy Proctor > Sent: Monday, September 29, 2008 10:33 AM > To: mcn-l at mcn.edu > Subject: [MCN-L] Web vs. 'real world' visitors > > Does anyone have any hard numbers on overall museum trends in numbers of > online visitors versus footfall in the bricks & mortar museums? My > anecdotal sense from talking to various museum professionals is that > online traffic is 3-10 times the in-person visitorship, but I'd like > to be able to cite an > actual study. > > It would also be great to know what percentage of museums' online > traffic is to content that is not resident on their websites, e.g. > Podcasts on iTunes/iTunes U, and videos on YouTube, if anyone has > those stats for your own museum or others'.... > > ...And the next step is to show what great return on investment our > digital initiatives provide, since we reach many more people online > than in person, and buildings are relatively expensive to maintain. > This is not to challenge the primacy and importance of the real world > buildings and collections, > but > simply to underscore how much reach digital teams can achieve for > comparatively little money. > > Many thanks! > Nancy > > Nancy Proctor > Head of New Media Initiatives > > Smithsonian American Art Museum (SAAM) MRC 970 PO Box 37012 Washington > DC 20013-7012 USA > > o: +1-202-633-8439 > f: +1-202-633-8455 > c: +1-301-642-6257 > > proctorn at si.edu > > http://www.americanart.si.edu > http://eyelevel.si.edu/ > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum > Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From ssteckline at asianart.org Thu Oct 2 14:15:18 2008 From: ssteckline at asianart.org (Sharon Steckline) Date: Thu, 2 Oct 2008 14:15:18 -0700 Subject: [MCN-L] Job Posting - Asian Art Museum Message-ID: COLLECTIONS DATABASE ADMINISTRATOR Part-Time (24 hrs/week) Two year fixed-term position with possibility of extension The Asian Art Museum is seeking an experienced database administrator to maintain and enhance the art collections management database, ARGUS Open Edition (AOE), and its smooth and accurate interface with an on-line collections database. Reporting to the Head of Registration, the incumbent oversees the continued development and implementation of the AOE system; trains and assists users; documents data standards; acts as planning liaison between the Registration, Curatorial, and IT departments for AOE-related projects; enters new data and successfully refreshes the on-line database at relevant intervals. This fixed-term, part-time position is funded through October 2010 with a possibility of renewal. Examples of Duties Manages the collections management database ARGUS Open Edition (AOE); acts as principal AAM liaison with outside vendors; serves as Registration department liaison to other departments regarding Argus-related projects. Coordinates regular updates of the on-line collections database and assists with the ongoing digitization project by ensuring the smooth functioning of the online database. Trains staff in use of the collections management system; prepares user documentation and training materials, and compiles system documentation. Inputs new data; updates and corrects existing data; and ensures the integrity of information in AOE and on-line databases. Customizes AOE for the museum?s use; designs and generates forms and reports; monitors adherence to, and documents, data entry standards. Minimum Qualifications *Bachelor?s degree from an accredited college or university. *Two years? experience with client/server relational database management systems; or an equivalent combination of education, training, and experience. *Excellent computer skills and experience with relational database management programs for collections management preferred. *Experience using Argus Open Edition highly desirable. *Experience using PowerBuilder or Crystal Reports report generation tools preferred. *Experience using image linking software, such as Qscan and Web database development experience preferred. *Knowledge of collections management and registration practices; some knowledge of art history. *Previous museum, library, or archival experience desirable. *Strong interpersonal, planning, and organizational skills; effective problem solving and conflict resolution skills; patience, persistence, and flexibility. *Ability to work well under pressure and with conflicting demands; extremely accurate and detail-oriented. *Ability to work independently and maintain ongoing effective working relationships with museum staff, colleagues in the field, and the public; demonstrate good judgment, flexibility, and resourcefulness. Compensation $23.80-28.58/hr.* with generous benefits package *Please note: 1. New hires start at the beginning of the salary range. 2. This position is represented by SEIU 1021. Application Procedure Apply online at www.asianart.org or send a letter of interest and resume IMMEDIATELY to: HUMAN RESOURCES Asian Art Museum 200 Larkin Street San Francisco, CA 94102 FAX: 415.861.2359 *The Asian Art Museum, a premier San Francisco institution, is one of the largest museums in the Western world devoted exclusively to Asian art. The museum?s magnificent and priceless collection of more than 17,000 objects, including paintings, sculpture, ceramics, bronzes, jades and textiles, exemplifies the artistic accomplishments of countries and cultures throughout Asia. The museum has relocated to an historic Civic Center building which has undergone a multi- million dollar renovation to become the Asian Art Museum?s new home. The museum opened to the public in March 2003.* The Asian Art Museum is proud to be an Equal Opportunity Employer. From maburns at uci.edu Thu Oct 2 16:32:18 2008 From: maburns at uci.edu (Maureen Burns) Date: Thu, 02 Oct 2008 16:32:18 -0700 Subject: [MCN-L] Fwd: [ARLIS-L] REMINDER: ARLIS/NA Internship Award applications due 10/15/08! Message-ID: <7.0.1.0.2.20081002163140.03a36758@uci.edu> Please excuse cross postings. >Dear Colleagues, > >This is a reminder that applications for the 2008/2009 ARLIS/NA >Internship Award are due Wednesday, October 15th. The Internship >Award Sub-committee would appreciate your help in making this >opportunity known to eligible students and recent graduates. > >The Art Libraries Society of North America Internship Award provides >financial support for students preparing for a career in art >librarianship or visual resources curatorship. The award grants >$2,500 to the selected recipient to support a period of internship >in an art library or visual resources collection. > >For detailed information about the award and application >instructions please see the ARLIS/NA website: >http://www.arlisna.org/about/awards/internship_info.html > >ARLIS/NA Internship Award Sub-Committee >Greta Bahnemann >Cathy Billings (chair) >Maureen Burns >Robert Gore >Rina Vecchiola >__________________________________________________________________ >Mail submissions to arlis-l at lsv.uky.edu For information about >joining ARLIS/NA see: http://www.arlisna.org/join.html Send >administrative matters (file requests, subscription requests, etc) >to listserv at lsv.uky.edu ARLIS-L Archives and subscription >maintenance: http://lsv.uky.edu/archives/arlis-l.html Questions may >be addressed to list owner (Judy Dyki) at: jdyki at cranbrook.edu Maureen A. Burns, Ed.D. Humanities Curator Visual Resources Collection 61 Humanities Instructional Building University of California Irvine, CA 92697-3375 949-824-8027 phone 949-824-4298 fax MABURNS at UCI.EDU From david.parsell at yale.edu Fri Oct 3 10:14:37 2008 From: david.parsell at yale.edu (Parsell, David) Date: Fri, 3 Oct 2008 13:14:37 -0400 Subject: [MCN-L] TMS diacritics question Message-ID: Hello all, I am looking for information on how others using TMS are entering diacritics and/or other alphabets into TMS fields such as object title and bibliography title/ name. I know there are a few Unicode fields available in TMS, but they deal with object context and the constituent name, therefore not useful. I'm looking for solutions that don't require converting the fields to Unicode in the SQL db. Thanks for your help, David Parsell Yale Center for British Art Yale University From jtrant at archimuse.com Fri Oct 3 10:43:49 2008 From: jtrant at archimuse.com (j trant) Date: Fri, 3 Oct 2008 13:43:49 -0400 Subject: [MCN-L] Web vs. 'real world' visitors In-Reply-To: <48E48ED6.5A2A.00A2.0@getty.edu> References: <831DFF518273CF47835B4CF4331D6D2F61A588@saturn.lacma.or g><785EF3E8EEBF554DBBCC6909943D22B705C477F4@saturn.lacma.org><6440C474B3F6 FE4EB44B34421B3E501E0E383B5A5A@dtes01.SAM.home> <785EF3E8EEBF554DBBCC6909943D22B705C477FC@saturn.lacma.org> <48E48ED6.5A2A.00A2.0@getty.edu> Message-ID: seb chan wrote a good piece about issues in metrics for mw2008 last year: see http://www.archimuse.com/mw2008/papers/chan-metrics/chan-metrics.html /jt At 9:05 AM -0700 10/2/08, Tim Hart wrote: >I think we're talking about two different things, the tracking >software (Web Analytics) and the survey to bring everyone's data >together. > >As for tracking software, a big shift began 3 or 4 years ago from >log file analysis to JavaScript page tagging. There are numerous >benefits that come with page tagging that I won't elaborate here. > >But even if all of us are using tagging strategies there is still >the problem if different numbers from different applications or >services. Google vs Omniture vs Webtrends will all produce different >data for the same Web Site. > >In the past I've sought to sidestep this issue by simply reporting >whatever data sister institutions collect, and simply noting >alongside that data how it was collected, if bots/spiders were >filtered (an issue with log analysis) how visits are determined >(typically a "session" from an unique IP combined with browser data >and a 30 minute time out after inactivity). > >Once you have begun to collect stats by whatever method, we would >collect everyone's data in a survey that would ask for information >about the collection methodology as well as the raw numbers. > >FWIW we use Omniture SiteCatalyst, think it's great, but it's also >pricey. Google will get you much of what you need. WebTrends claims >to have most of the government's business. Stay away from log >analysis if you can help it. > > >>>> "Perian Sully" 10/2/2008 8:36 AM >>> >I hope no one minds if I ask a really basic question - is there a >preferred methodology for collecting the data? > >The Magnes is an unusual case in that we don't have a whole lot of foot >traffic and, up until now, have not had much online traffic either. It's >likely to swing heavily to the online visitor in the next couple of >months as we focus our energies there. > >There has been much discussion about developing a survey and tracking >audience metrics, but if we can develop something which could be added >to an already existing data pool, so much the better. So is there a >standard set of analytics and questions we should be asking and would >also benefit the rest of the field? > >Perian Sully >Collections Information and Web Programs Manager >Judah L. Magnes Museum > > >-----Original Message----- >From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of >Folsom, Diana >Sent: Tuesday, September 30, 2008 1:13 PM >To: Museum Computer Network Listserv >Cc: Tim Hart >Subject: Re: [MCN-L] Web vs. 'real world' visitors > >Tim Hart responded off list. Here are the messages he sent to Christina >and me. > >To Christina from Tim: >"I would be happy to create a survey and publish the data here: >http://www.getty.edu/about/institutional_research/snapshot_visits.html > >Do you think anyone would fill it out on a regular basis? Monthly?" > >To Diana from Tim: >"First I tried to get people to share data in Los Angeles (local >museums). That didn't work. Then I formed the Public Sector Committee at >the Web Analytics Association (I was a founding co-chair) and that >didn't work. But, not to despair, I'm now leading a project where 12 >local museums are participating in an audience intercept study... its >happening as I write. Hopefully this collaboration will be a starting >point for further sharing of audience metrics. > >Reasons Web data sharing initiatives fail: Most museums don't have >somebody on staff who can handle the extra work. Too many different >analytics technologies (not all data is created the same). Too many >possibilities for analytics implementation variation. Difficulty in >categorizing content (what is "education" content anyway?). Many >institutions don't see the value in sharing (in spite of what we were >taught in kindergarten). Etc., etc." > > >Diana > > >-----Original Message----- >From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of >Christina DePaolo >Sent: Tuesday, September 30, 2008 10:46 AM >To: Museum Computer Network Listserv >Cc: Tim Hart >Subject: Re: [MCN-L] Web vs. 'real world' visitors > >If there was an process for electronically sharing them vs. filling out >a survey or manually sharing stats, then maybe it would easier for us to >do a broader survey. Christina > > >-----Original Message----- >From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of >Folsom, Diana >Sent: Tuesday, September 30, 2008 10:39 AM >To: Museum Computer Network Listserv >Cc: Tim Hart >Subject: Re: [MCN-L] Web vs. 'real world' visitors > >Tim Hart (from the Getty) has been trying to organize us all to share >web data with each other for several years. > >I think he might compare the effort to that of "trying to herd cats". >(excuse me for putting words in your mouth, Tim!) > >http://www.ehow.com/how_2023491_herd-cats.html > >Perhaps this is a moment in time when we might feel more inclined to >share our stats in some way... ?? > > >Diana > >Diana Folsom >Manager, Art & Education Systems >Collections Management Dept. >LACMA >5905 Wilshire Blvd. >Los Angeles, CA 90036 >voice 323-857-6594 >fax 323-857-6213 > >Check out new material in LACMA's Collections Online >http://CollectionsOnline.lacma.org > > > >-----Original Message----- >From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of >Montgomery, Renee >Sent: Tuesday, September 30, 2008 8:14 AM >To: Museum Computer Network Listserv >Subject: Re: [MCN-L] Web vs. 'real world' visitors > >Is someone collating these facts and figures? I know there are some >older reports but is there a recent update? Obviously is very helpful >to have comparative stats to help build cases on the homefront. Thank >you. > >Renee Montgomery >Assistant Director >Risk Management and Collection Information Los Angeles County Museum of >Art T 323 857-6059 > >-----Original Message----- >From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of >Champagne, Joanna >Sent: Monday, September 29, 2008 12:29 PM >To: Museum Computer Network Listserv >Subject: Re: [MCN-L] Web vs. 'real world' visitors > >Hello, > >This past fiscal year we had just over 4 million physical visitors (like >the Web some may be repeat, but not as many as the online) to the >National Gallery and 20,800,523 visits to the Web site. > >50.8% of our 62 Podcasts were downloaded to iTunes this past FY year the >rest from our site and widget. > >We have 559 installs of our Podcast widget. > >Hope that helps. > >Best, >Joanna > > >................. >Joanna Champagne >Chief of Web and New Media Initiatives >National Gallery of Art >NGA.GOV > > > > >On 9/29/08 1:48 PM, "Perian Sully" wrote: > >> Dear Nancy: >> >> Have you seen the IMLS Interconnections report? >> http://www.interconnectionsreport.org/ >> >> Lots of hard data about some of the questions you're asking. The >> slideshow provides a nice summary as well on the report. >> >> Perian Sully >> Collections Information and Web Programs Manager Judah L. Magnes >> Museum >> >> >> -----Original Message----- >> From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf >Of >> Nancy Proctor >> Sent: Monday, September 29, 2008 10:33 AM >> To: mcn-l at mcn.edu >> Subject: [MCN-L] Web vs. 'real world' visitors >> >> Does anyone have any hard numbers on overall museum trends in numbers >of >> online visitors versus footfall in the bricks & mortar museums? My >> anecdotal sense from talking to various museum professionals is that >> online traffic is 3-10 times the in-person visitorship, but I'd like >> to be able to cite >an >> actual study. >> >> It would also be great to know what percentage of museums' online >> traffic is to content that is not resident on their websites, e.g. >> Podcasts on iTunes/iTunes U, and videos on YouTube, if anyone has >> those stats for your own museum or others'.... >> >> ...And the next step is to show what great return on investment our >> digital initiatives provide, since we reach many more people online >> than in person, and buildings are relatively expensive to maintain. > > This is not to challenge the primacy and importance of the real world >> buildings and >collections, >> but >> simply to underscore how much reach digital teams can achieve for >> comparatively little money. >> >> Many thanks! >> Nancy >> >> Nancy Proctor >> Head of New Media Initiatives >> >> Smithsonian American Art Museum (SAAM) MRC 970 PO Box 37012 Washington > >> DC 20013-7012 USA >> >> o: +1-202-633-8439 >> f: +1-202-633-8455 >> c: +1-301-642-6257 >> >> proctorn at si.edu >> >> http://www.americanart.si.edu >> http://eyelevel.si.edu/ >> >> _______________________________________________ >> You are currently subscribed to mcn-l, the listserv of the Museum >> Computer Network (http://www.mcn.edu) >> >> To post to this list, send messages to: mcn-l at mcn.edu >> >> To unsubscribe or change mcn-l delivery options visit: >> http://toronto.mediatrope.com/mailman/listinfo/mcn-l >> _______________________________________________ >> You are currently subscribed to mcn-l, the listserv of the Museum >Computer >> Network (http://www.mcn.edu) >> >> To post to this list, send messages to: mcn-l at mcn.edu >> >> To unsubscribe or change mcn-l delivery options visit: >> http://toronto.mediatrope.com/mailman/listinfo/mcn-l > >_______________________________________________ >You are currently subscribed to mcn-l, the listserv of the Museum >Computer Network (http://www.mcn.edu) > >To post to this list, send messages to: mcn-l at mcn.edu > >To unsubscribe or change mcn-l delivery options visit: >http://toronto.mediatrope.com/mailman/listinfo/mcn-l >_______________________________________________ >You are currently subscribed to mcn-l, the listserv of the Museum >Computer Network (http://www.mcn.edu) > >To post to this list, send messages to: mcn-l at mcn.edu > >To unsubscribe or change mcn-l delivery options visit: >http://toronto.mediatrope.com/mailman/listinfo/mcn-l >_______________________________________________ >You are currently subscribed to mcn-l, the listserv of the Museum >Computer Network (http://www.mcn.edu) > >To post to this list, send messages to: mcn-l at mcn.edu > >To unsubscribe or change mcn-l delivery options visit: >http://toronto.mediatrope.com/mailman/listinfo/mcn-l >_______________________________________________ >You are currently subscribed to mcn-l, the listserv of the Museum >Computer Network (http://www.mcn.edu) > >To post to this list, send messages to: mcn-l at mcn.edu > >To unsubscribe or change mcn-l delivery options visit: >http://toronto.mediatrope.com/mailman/listinfo/mcn-l >_______________________________________________ >You are currently subscribed to mcn-l, the listserv of the Museum >Computer Network (http://www.mcn.edu) > >To post to this list, send messages to: mcn-l at mcn.edu > >To unsubscribe or change mcn-l delivery options visit: >http://toronto.mediatrope.com/mailman/listinfo/mcn-l >_______________________________________________ >You are currently subscribed to mcn-l, the listserv of the Museum >Computer Network (http://www.mcn.edu) > >To post to this list, send messages to: mcn-l at mcn.edu > >To unsubscribe or change mcn-l delivery options visit: >http://toronto.mediatrope.com/mailman/listinfo/mcn-l >_______________________________________________ >You are currently subscribed to mcn-l, the listserv of the Museum >Computer Network (http://www.mcn.edu) > >To post to this list, send messages to: mcn-l at mcn.edu > >To unsubscribe or change mcn-l delivery options visit: >http://toronto.mediatrope.com/mailman/listinfo/mcn-l -- __________ J. Trant jtrant at archimuse.com Partner & Principal Consultant phone: +1 416 691 2516 Archives & Museum Informatics fax: +1 416 352 6025 158 Lee Ave, Toronto Ontario M4E 2P3 Canada http://www.archimuse.com __________ From A-Newman at NGA.GOV Fri Oct 3 12:12:36 2008 From: A-Newman at NGA.GOV (Newman, Alan) Date: Fri, 3 Oct 2008 15:12:36 -0400 Subject: [MCN-L] Federal Agencies Digitization Guidelines Initiative References: Message-ID: <6CEED63FF7AF5A4FA7C39551EAD89A1A873486@SV-MAIL-TDP.NGA.GOV> The Web site for the Federal Agencies Digitization Guidelines Initiative became publicly accessible on September 30, 2008. The URL is http://www.digitizationguidelines.gov/. The initiative represents a collaborative effort to establish a common set of guidelines for digitizing historical materials. Under this initiative, two Working Groups have been established. The Still Image Working Group will focus its efforts on books, manuscripts, maps, and photographic prints and negatives. Its members include the Library of Congress, the National Agricultural Library, the National Archives and Records Administration, the National Gallery of Art, the National Library of Medicine, the National Technical Information Service, the National Transportation Library, the Smithsonian Institution, the U.S. Geological Survey, and the U.S. Government Printing Office. The Audio-Visual Working Group will address standards and practices for sound, video, and motion picture film. Its members include the Defense Visual Information Directorate of the Department of Defense, the Library of Congress, the National Agricultural Library, the National Archives and Records Administration, the National Library of Medicine, the Smithsonian Institution, the Government Printing Office and the Voice of America. A press release providing additional information is available at http://www.loc.gov/today/pr/2008/08-177.html. From TompkinsW at si.edu Fri Oct 3 14:00:50 2008 From: TompkinsW at si.edu (Tompkins, William) Date: Fri, 3 Oct 2008 17:00:50 -0400 Subject: [MCN-L] Reminder: Call for Participation: Online Survey of Collections Assessment Tools In-Reply-To: <71EF515A04E36F46AB276D8C0C7A47DB01B46AC9@SI-ECL02.US.SINET.SI.EDU> References: <71EF515A04E36F46AB276D8C0C7A47DB01B46AC9@SI-ECL02.US.SINET.SI.EDU> Message-ID: <71EF515A04E36F46AB276D8C0C7A47DB01B46BA4@SI-ECL02.US.SINET.SI.EDU> Just a friendly reminder of the October 6th deadline to participate in the online survey of collections assessment tools. I invite and encourage your participation and contributions. Thanks. ~~~ Bill Bill Tompkins National Collections Coordinator National Collections Program Smithsonian Institution (202) 633-5363 voice (202) 357-1353 fax tompkinsw at si.edu ________________________________ From: Tompkins, William Sent: Friday, September 19, 2008 3:52 PM To: 'mcn-l at mcn.edu' Subject: Call for Participation: Online Survey of Collections Assessment Tools The Smithsonian Institution is currently planning to develop a collections assessment tool - a "collections scorecard" per se - to measure and report performance in the area of collections stewardship, inform our strategic planning, and to leverage support for collections. Our challenge is to develop performance metrics based on levels of best practice that are relevant and meaningful across museums and collecting units of different disciplines, scales, and organizational structures. As part of a larger environmental scan, we are conducting a survey in order to identify and document the variety of collections assessment and survey tools used by museums, archives, and libraries world-wide to measure collections stewardship. Through this survey, we also wish to solicit input regarding professional interest in developing and implementing collections assessment tools which might be applicable and beneficial to the entire field. We invite and encourage you to participate in this survey which is now available at http://www.surveymonkey.com/s.aspx?sm=AexkGlto8a31TFtMrUaxjA_3d_3d For the purpose of this survey, we refer to a collections assessment as a tool to evaluate policies, practices, and conditions based on established professional standards and best practices. A report of the findings of the survey will be available by the end of the year. The survey should take no longer than 10 minutes to complete. *** Due Date: Responses to the survey are due by October 6, 2008 *** We thank you in advance for your participation. Sincerely, Bill Tompkins National Collections Coordinator National Collections Program Smithsonian Institution From annamaria.pomaswank at gmail.com Mon Oct 6 03:37:17 2008 From: annamaria.pomaswank at gmail.com (Annamaria Poma-Swank) Date: Mon, 6 Oct 2008 12:37:17 +0200 Subject: [MCN-L] art museums policy In-Reply-To: References: Message-ID: Dear Jeremy I did not receive any answer from you. I would like to pursue s study about the impact of the new technology on museums policy (I am specially interested in art museums) Please let me know if you received any sources and if you like to see my proposal. Grazie Annamaria Poma Swank, Ph,D, Fondazione Rinascimento digitale, pomaswank at rinascimento-digitale.it On Sat, Sep 27, 2008 at 9:59 PM, Ottevanger, Jeremy < JOttevanger at museumoflondon.org.uk> wrote: > May I second that request? I'm not quite sure if Annamaria is looking for > the impact of museum tech on various policies, or the impact of policies on > tech, but I guess either would be useful. Perhaps if you know of any such > studies you can post to the list. Studies aside, if your own institution has > made any conscious steps to address digital media in various policies or in > your strategic aims, I'd love to hear from you on or off list. I'm looking > into the sustainability of digital media in museums, and needless to say > institutional attitude and policies have the potential to play a big part. > > Thanks in advance, Jeremy > > ________________________________ > > From: mcn-l-bounces at mcn.edu on behalf of Annamaria Poma-Swank > Sent: Sat 27/09/2008 11:35 > To: mcn-l at mcn.edu > Subject: [MCN-L] art museums policy > > > > Dear all, > I would like to know if there is a study on the impact of museums > technology to museums policy such as museums collection development, > staffing, organizational chart, budget and so forth. > You can write to me at > pomaswank at rinascimento-digitale.it > > Annamaria Poma Swank > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu ) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > > > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > > From annamaria.pomaswank at gmail.com Mon Oct 6 03:53:54 2008 From: annamaria.pomaswank at gmail.com (Annamaria Poma-Swank) Date: Mon, 6 Oct 2008 12:53:54 +0200 Subject: [MCN-L] artmuseums policy Message-ID: I need to apologize: the message I sent to the list fifteen minutes ago was not inteded for the list. Sorry Annamaria Poma Swank From Shyam.Oberoi at metmuseum.org Mon Oct 6 08:11:00 2008 From: Shyam.Oberoi at metmuseum.org (Oberoi, Shyam) Date: Mon, 6 Oct 2008 11:11:00 -0400 Subject: [MCN-L] Website content analysis / site map - recommended software? Message-ID: <28FD664987125B47BE7F43488685EDC71E9EB839@E2KVS2.metmuseum.org> Wanted to put out a question to see what software other people might be using to do content analysis of their websites. For example, we would like to be able to scan our entire site to identify all the links that point to a particular store item (such as "Rembrandt, Self-Portrait Poster"), or a particular category of items (such as "posters") - these links can exist in multiple parts of the site: special exhibitions, permanent collection, timeline, etc Thanks in advance, Shyam Shyam Oberoi Sr. Website Technology Manager The Metropolitan Museum of Art From mmisunas at sfmoma.org Mon Oct 6 15:13:47 2008 From: mmisunas at sfmoma.org (Misunas, Marla) Date: Mon, 6 Oct 2008 15:13:47 -0700 Subject: [MCN-L] MCN Silent Auction 2008 Message-ID: <45058F8692E66640955EC9882C7C4843046840CE@monet.SFMOMA.ORG> Hello all, Are you gearing up for the MCN annual meeting in Washington DC? This year's conference is five weeks away, and it's time to start thinking about your Silent Auction donations. As usual, this year's auction benefits our Scholarship Program, helping emerging museum professionals attend our conference by providing registration and funds towards expenses. Like last year, this year there were many more deserving applicants than there was funding. We would like to increase their numbers next year, but we can only do it with your help. Help us meet this year's goal of $1500! Items of any sort--new or old, seriously useful or cheerfully unrelated to museum work--that may be attractive to bidders (and carried by airline passengers) are encouraged. Exhibition catalogues and other institutional publications are always popular. Equally great and easy to carry are museum bags, clothing, and other souvenirs. Donations need not be tangible things--some popular lots in recent years have consisted of free services or special half-price registration for professional events. New this year, all you artists and crafters out there! Bring us your photography, paintings, prints, knitting, embroidery, mosaics or anything else that will fit into a suitcase. Show off your creativity and help us raise some bucks! If you remember the Las Vegas conference several years ago, you may remember one of the most hotly bid items was a "Mr. T" Chia Head. Get your thinking cap on and bring this year's Mr. T! Auction donations are tax deductible and all proceeds benefit next year's scholarship recipients. We need you to make this an event a success! Auction items will be accepted at the Conference Registration Desk on Wednesday, and Thursday until noon. You may bid on items throughout the day Thursday, until tables in the Vendor Hall close at 5:30. Bring in those items, then come to Thursday's reception hosted by "Marge" Washington, and get ready to outbid the competition! If you would like to see your item featured on the Events page of the website, send me a photo of it! Here's a sample: http://www.mcn.edu/conferences/index.asp?subkey=2110 I also need a few stalwart volunteers to help on Thursday. If interested, please email me off-list at mmisunas[at]sfmoma.org. Marla Misunas Collections Information Manager Collections Information and Access San Francisco Museum of Modern Art 415-357-4186 (voice) Check out SFMOMA Collections Online www.sfmoma.org __________________________________ Past President, Museum Computer Network http://www.mcn.edu The information contained in this electronic mail message (including any attachments) is confidential information that may be covered by the Electronic Communications Privacy Act, 18 USC Sections 2510-2521, intended only for the use of the individual or entity named above, and may be privileged. If the reader of this message is not the intended recipient, you are hereby notified that any dissemination, distribution, or copying of this communication, or the taking of any action based on it, is strictly prohibited. If you have received this communication in error, please immediately notify me and delete the original message. Thank you From robertlu at telkomsa.net Tue Oct 7 02:07:19 2008 From: robertlu at telkomsa.net (Rob) Date: Tue, 07 Oct 2008 11:07:19 +0200 Subject: [MCN-L] Leaders in interactive museums Message-ID: <48EB26C7.20702@telkomsa.net> Hi I am trying to make a short list of the leaders in museum exhibition interactive technology especially from an IT perspective. In this regard I am particularly interested in the museums themselves but I am also interested in names of companies who are suppliers to these museums. Thanks Robert Luyt Curator: Exhibitions Local History Museums Durban From SKreisman at universitycircle.org Tue Oct 7 06:01:53 2008 From: SKreisman at universitycircle.org (Sandy Kreisman) Date: Tue, 7 Oct 2008 09:01:53 -0400 Subject: [MCN-L] Leaders in interactive museums References: <48EB26C7.20702@telkomsa.net> Message-ID: <91D778B1B1F2AA40848FE7F0A7768582CEE94C@orion3.UCI.Magnolia.Local> Please share this list. Sandy Kreisman, Education Initiatives Manager skreisman at universitycircle.org University Circle Inc. 10831 Magnolia Drive Cleveland, Ohio 44106 (216) 707-5021 office phone (216) 791-3935 fax (330) 221-0421 cell Find Yourself in the Circle! -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Rob Sent: Tuesday, October 07, 2008 5:07 AM To: mcn-l at mcn.edu Subject: [MCN-L] Leaders in interactive museums Hi I am trying to make a short list of the leaders in museum exhibition interactive technology especially from an IT perspective. In this regard I am particularly interested in the museums themselves but I am also interested in names of companies who are suppliers to these museums. Thanks Robert Luyt Curator: Exhibitions Local History Museums Durban _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From Thomas.Deliduka at cmaohio.org Tue Oct 7 06:10:42 2008 From: Thomas.Deliduka at cmaohio.org (Thomas Deliduka) Date: Tue, 7 Oct 2008 09:10:42 -0400 Subject: [MCN-L] Website content analysis / site map - recommended software? In-Reply-To: <28FD664987125B47BE7F43488685EDC71E9EB839@E2KVS2.metmuseum.org> References: <28FD664987125B47BE7F43488685EDC71E9EB839@E2KVS2.metmuseum.org> Message-ID: <971D973B6D0DE04DB6E402ACFCB2FB3D012B66F8@cma-srv-exch-01.cmaohio.org> I could be reading the e-mail wrong, but I would think you would simply want to scan the source code. For instance, if you have DreamWeaver or even a coding application like Eclipse, you load the site up and then use the search feature to search multiple files for the links you want. If you don't have access to the source, you may be able to use google's search using the "site:yourwebsite.com" prefix to your searches and see if all those pages are crawled. Thomas Deliduka Director of Information Technology Columbus Museum of Art 480 East Broad Street Columbus, OH 43215 ph 614/629-0345 fax 614/629-0950 thomas.deliduka at cmaohio.org ART SPEAKS. JOIN THE CONVERSATION -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Oberoi, Shyam Sent: Monday, October 06, 2008 11:11 AM To: Museum Computer Network Listserv Subject: [MCN-L] Website content analysis / site map - recommended software? Wanted to put out a question to see what software other people might be using to do content analysis of their websites. For example, we would like to be able to scan our entire site to identify all the links that point to a particular store item (such as "Rembrandt, Self-Portrait Poster"), or a particular category of items (such as "posters") - these links can exist in multiple parts of the site: special exhibitions, permanent collection, timeline, etc Thanks in advance, Shyam Shyam Oberoi Sr. Website Technology Manager The Metropolitan Museum of Art _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From lists at lancefield.net Tue Oct 7 06:27:02 2008 From: lists at lancefield.net (Rob Lancefield on lists) Date: Tue, 07 Oct 2008 09:27:02 -0400 Subject: [MCN-L] Leaders in interactive museums In-Reply-To: <91D778B1B1F2AA40848FE7F0A7768582CEE94C@orion3.UCI.Magnolia.Local> References: <48EB26C7.20702@telkomsa.net> <91D778B1B1F2AA40848FE7F0A7768582CEE94C@orion3.UCI.Magnolia.Local> Message-ID: <48EB63A6.7090807@lancefield.net> Hello Rob, Sandy, and all, You may also find it useful to explore the MCN Project Registry at and filter the list of projects by the "Gallery Kiosk or Video" type; this could lead to some further ideas re: people or firms to contact. Having mentioned the registry, I should encourage everyone once again to check it out, create records for projects or programs of work not yet documented there, and update as appropriate any records you may have submitted earlier this year. As of today there are 74 records, so we're really on our way towards growing it into a useful community resource. best, Rob ______________________________________________ Rob Lancefield (rlancefield [at] wesleyan.edu) Manager of Museum Information Services / Registrar of Collections Davison Art Center, Wesleyan University 301 High Street, Middletown CT 06459-0487 USA 860.685.2965 Vice President / President-Elect, Museum Computer Network (MCN) On 10/7/08 9:01 AM, Sandy Kreisman wrote: > Please share this list. > > Sandy Kreisman, Education Initiatives Manager > skreisman at universitycircle.org > University Circle Inc. > 10831 Magnolia Drive > Cleveland, Ohio 44106 > (216) 707-5021 office phone > (216) 791-3935 fax > (330) 221-0421 cell > > > Find Yourself in the Circle! > > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Rob > Sent: Tuesday, October 07, 2008 5:07 AM > To: mcn-l at mcn.edu > Subject: [MCN-L] Leaders in interactive museums > > Hi > I am trying to make a short list of the leaders in museum exhibition > interactive technology especially from an IT perspective. In this regard > > I am particularly interested in the museums themselves but I am also > interested in names of companies who are suppliers to these museums. > > Thanks > Robert Luyt > Curator: Exhibitions > Local History Museums > Durban From Thomas.Deliduka at cmaohio.org Tue Oct 7 07:11:08 2008 From: Thomas.Deliduka at cmaohio.org (Thomas Deliduka) Date: Tue, 7 Oct 2008 10:11:08 -0400 Subject: [MCN-L] Website content analysis / site map - recommended software? In-Reply-To: <28FD664987125B47BE7F43488685EDC71EB3F3BB@E2KVS2.metmuseum.org> References: <28FD664987125B47BE7F43488685EDC71EB3F3BB@E2KVS2.metmuseum.org> Message-ID: <971D973B6D0DE04DB6E402ACFCB2FB3D012B66F9@cma-srv-exch-01.cmaohio.org> Hmm, that is interesting. I have never used DreamWeaver myself. I use Eclipse because I do more coding and manual HTML than anything else. I just tried a search in Eclipse, got a list but it wasn't exportable. I have a program on my Mac called "Text Wrangler" it's free from Bbedit.com (go to products then text wrangler). You can use it to search a folder of documents for a string. It will output the results and then you can highlight all the results and copy/paste them into another document or possbily Excel, I don't know about the latter. Thomas Deliduka Director of Information Technology Columbus Museum of Art 480 East Broad Street Columbus, OH 43215 ph 614/629-0345 fax 614/629-0950 thomas.deliduka at cmaohio.org ART SPEAKS. JOIN THE CONVERSATION -----Original Message----- From: Oberoi, Shyam [mailto:Shyam.Oberoi at metmuseum.org] Sent: Tuesday, October 07, 2008 10:05 AM To: Thomas Deliduka Subject: RE: [MCN-L] Website content analysis / site map - recommended software? Thomas, That's exactly what we want to do - and up to this point we've actually been using DreamWeaver 2004 to do it. The problem is that we want to produce reports (or at least output the search results) and our version of Dreamweaver doesn't seem to have that capability. If a newer version of DW can do this, we'd definitely be fine with upgrading Thanks Shyam Shyam Oberoi Sr. Website Technology Manager The Metropolitan Museum of Art --------------------------------------------- shyam.oberoi at metmuseum.org p. 212-650-2303 -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Thomas Deliduka Sent: Tuesday, October 07, 2008 9:11 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] Website content analysis / site map - recommendedsoftware? I could be reading the e-mail wrong, but I would think you would simply want to scan the source code. For instance, if you have DreamWeaver or even a coding application like Eclipse, you load the site up and then use the search feature to search multiple files for the links you want. If you don't have access to the source, you may be able to use google's search using the "site:yourwebsite.com" prefix to your searches and see if all those pages are crawled. Thomas Deliduka Director of Information Technology Columbus Museum of Art 480 East Broad Street Columbus, OH 43215 ph 614/629-0345 fax 614/629-0950 thomas.deliduka at cmaohio.org ART SPEAKS. JOIN THE CONVERSATION -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Oberoi, Shyam Sent: Monday, October 06, 2008 11:11 AM To: Museum Computer Network Listserv Subject: [MCN-L] Website content analysis / site map - recommended software? Wanted to put out a question to see what software other people might be using to do content analysis of their websites. For example, we would like to be able to scan our entire site to identify all the links that point to a particular store item (such as "Rembrandt, Self-Portrait Poster"), or a particular category of items (such as "posters") - these links can exist in multiple parts of the site: special exhibitions, permanent collection, timeline, etc Thanks in advance, Shyam Shyam Oberoi Sr. Website Technology Manager The Metropolitan Museum of Art _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From SKreisman at universitycircle.org Tue Oct 7 07:36:21 2008 From: SKreisman at universitycircle.org (Sandy Kreisman) Date: Tue, 7 Oct 2008 10:36:21 -0400 Subject: [MCN-L] Leaders in interactive museums References: <48EB26C7.20702@telkomsa.net><91D778B1B1F2AA40848FE7F0A7768582CEE94C@orion3.UCI.Magnolia.Local> <48EB63A6.7090807@lancefield.net> Message-ID: <91D778B1B1F2AA40848FE7F0A7768582CEE9C2@orion3.UCI.Magnolia.Local> Thanks Rob! Sandy Kreisman, Education Initiatives Manager skreisman at universitycircle.org University Circle Inc. 10831 Magnolia Drive Cleveland, Ohio 44106 (216) 707-5021 office phone (216) 791-3935 fax (330) 221-0421 cell Find Yourself in the Circle! -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Rob Lancefield on lists Sent: Tuesday, October 07, 2008 9:27 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] Leaders in interactive museums Hello Rob, Sandy, and all, You may also find it useful to explore the MCN Project Registry at and filter the list of projects by the "Gallery Kiosk or Video" type; this could lead to some further ideas re: people or firms to contact. Having mentioned the registry, I should encourage everyone once again to check it out, create records for projects or programs of work not yet documented there, and update as appropriate any records you may have submitted earlier this year. As of today there are 74 records, so we're really on our way towards growing it into a useful community resource. best, Rob ______________________________________________ Rob Lancefield (rlancefield [at] wesleyan.edu) Manager of Museum Information Services / Registrar of Collections Davison Art Center, Wesleyan University 301 High Street, Middletown CT 06459-0487 USA 860.685.2965 Vice President / President-Elect, Museum Computer Network (MCN) On 10/7/08 9:01 AM, Sandy Kreisman wrote: > Please share this list. > > Sandy Kreisman, Education Initiatives Manager > skreisman at universitycircle.org > University Circle Inc. > 10831 Magnolia Drive > Cleveland, Ohio 44106 > (216) 707-5021 office phone > (216) 791-3935 fax > (330) 221-0421 cell > > > Find Yourself in the Circle! > > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Rob > Sent: Tuesday, October 07, 2008 5:07 AM > To: mcn-l at mcn.edu > Subject: [MCN-L] Leaders in interactive museums > > Hi > I am trying to make a short list of the leaders in museum exhibition > interactive technology especially from an IT perspective. In this regard > > I am particularly interested in the museums themselves but I am also > interested in names of companies who are suppliers to these museums. > > Thanks > Robert Luyt > Curator: Exhibitions > Local History Museums > Durban _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From psully at magnes.org Tue Oct 7 09:02:48 2008 From: psully at magnes.org (Perian Sully) Date: Tue, 7 Oct 2008 09:02:48 -0700 Subject: [MCN-L] Website content analysis / site map - recommendedsoftware? In-Reply-To: <971D973B6D0DE04DB6E402ACFCB2FB3D012B66F9@cma-srv-exch-01.cmaohio.org> References: <28FD664987125B47BE7F43488685EDC71EB3F3BB@E2KVS2.metmuseum.org> <971D973B6D0DE04DB6E402ACFCB2FB3D012B66F9@cma-srv-exch-01.cmaohio.org> Message-ID: Dear Shyam: I recently got Microsoft Visio Professional which appears to do what you're asking to do. You can export to a database or use ODBC and then import from Excel. We ended up getting Visio from JourneyEd, http://journeyed.com/search.asp?SKW=MSCharity TechSoup also offers it here: http://www.techsoup.org/stock/product.asp?catalog_name=TechSoupMain&cate gory_name=Office+Tools+MS&product_id=LS-2512&Cat1=Office+Tools+MS&CatCou nt=1 Best, Perian Sully Collections Information and Web Programs Manager Judah L. Magnes Museum -----Original Message----- From: Oberoi, Shyam [mailto:Shyam.Oberoi at metmuseum.org] Sent: Tuesday, October 07, 2008 10:05 AM To: Thomas Deliduka Subject: RE: [MCN-L] Website content analysis / site map - recommended software? Thomas, That's exactly what we want to do - and up to this point we've actually been using DreamWeaver 2004 to do it. The problem is that we want to produce reports (or at least output the search results) and our version of Dreamweaver doesn't seem to have that capability. If a newer version of DW can do this, we'd definitely be fine with upgrading Thanks Shyam Shyam Oberoi Sr. Website Technology Manager The Metropolitan Museum of Art --------------------------------------------- shyam.oberoi at metmuseum.org p. 212-650-2303 -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Thomas Deliduka Sent: Tuesday, October 07, 2008 9:11 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] Website content analysis / site map - recommendedsoftware? I could be reading the e-mail wrong, but I would think you would simply want to scan the source code. For instance, if you have DreamWeaver or even a coding application like Eclipse, you load the site up and then use the search feature to search multiple files for the links you want. If you don't have access to the source, you may be able to use google's search using the "site:yourwebsite.com" prefix to your searches and see if all those pages are crawled. Thomas Deliduka Director of Information Technology Columbus Museum of Art 480 East Broad Street Columbus, OH 43215 ph 614/629-0345 fax 614/629-0950 thomas.deliduka at cmaohio.org ART SPEAKS. JOIN THE CONVERSATION -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Oberoi, Shyam Sent: Monday, October 06, 2008 11:11 AM To: Museum Computer Network Listserv Subject: [MCN-L] Website content analysis / site map - recommended software? Wanted to put out a question to see what software other people might be using to do content analysis of their websites. For example, we would like to be able to scan our entire site to identify all the links that point to a particular store item (such as "Rembrandt, Self-Portrait Poster"), or a particular category of items (such as "posters") - these links can exist in multiple parts of the site: special exhibitions, permanent collection, timeline, etc Thanks in advance, Shyam Shyam Oberoi Sr. Website Technology Manager The Metropolitan Museum of Art _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From mia.ridge at gmail.com Wed Oct 8 15:43:37 2008 From: mia.ridge at gmail.com (Mia Ridge) Date: Wed, 8 Oct 2008 23:43:37 +0100 Subject: [MCN-L] Web vs. 'real world' visitors In-Reply-To: <6440C474B3F6FE4EB44B34421B3E501E0E383B5A5A@dtes01.SAM.home> References: <831DFF518273CF47835B4CF4331D6D2F61A588@saturn.lacma.org> <785EF3E8EEBF554DBBCC6909943D22B705C477F4@saturn.lacma.org> <6440C474B3F6FE4EB44B34421B3E501E0E383B5A5A@dtes01.SAM.home> Message-ID: 2008/9/30 Christina DePaolo wrote: If there was an process for electronically sharing them vs. filling out a > survey or manually sharing stats, then maybe it would easier for us to do a > broader survey. Christina > > The London Museums online group uses a shared spreadsheet in Google docs. You can either email figures to a central person or add them yourself. It can be useful even if you don't have a baseline measure (how a 'visit' or 'visitor' is defined) or common software, as you can see larger trends over time. cheers, Mia -------------------------------------------- http://openobjects.blogspot.com From A-Newman at NGA.GOV Fri Oct 10 11:00:40 2008 From: A-Newman at NGA.GOV (Newman, Alan) Date: Fri, 10 Oct 2008 14:00:40 -0400 Subject: [MCN-L] PLUS Guidelines accepted by metadataworkinggroup.com In-Reply-To: Message-ID: At MCN 2008 there will be a group meeting and presentation by Jeff Sedlik for the IP Sig about recent developments by the PLUS (Picture Library Universal System) Coalition. Below is an announcement today of progress between PLUS and other image metadata standards groups: IPTC and PLUS welcome Metadata Group Guidelines Media release of 10 October 2008 London (England), 10 October 2008 -- The International Press Telecommunications Council and the PLUS Coalition have welcomed metadata processing guidelines for software developers that were recently published by the Metadata Working Group. The Metadata Working Group (http://www.metadataworkinggroup.com) is a consortium of leading companies in the digital media industry that was formed in 2006. Adobe, Apple, Canon, Microsoft, Nokia and Sony have joined forces to produce "Guidelines for Handling Image Metadata." The goal of the group is to increase interoperability of digital image metadata across all software, hardware and services. As creator of the IPTC Information Interchange Model (IIM), IPTC Core and IPTC Extension image metadata standards, IPTC has a stake in this work. The IPTC document published this summer, "Persisting Technical Photo Metadata," called for the preservation of all metadata between systems, which would increase workflow productivity and automation. As creator of the PLUS Standards (Picture Licensing Universal System), the PLUS Coalition also has a stake in this work. PLUS has established universal standards for communicating image rights metadata. IPTC is a PLUS Coalition member and participated in the development of the PLUS standards. The Metadata Working Group's Guidelines address issues of synchronisation between different metadata standards that apply to data found in consumer cameras. IPTC and PLUS note that the general principles outlined in the Guidelines can be applied to all professional-level metadata. IPTC Managing Director Michael Steidl said of the initiative, "Image producers and users are frustrated when metadata disappears between applications, or appears in a different field. At the IPTC PhotoMetadata Conference this summer we identified the need for dialogue with developers. This paper is a huge step forward, and we hope to see further updates which extend to all professional metadata. In the meantime we urge all developers to read and act upon the recommendations in the paper." Jeff Sedlik, President & CEO of the PLUS Coalition, said, "The Metadata Working Group is addressing issues vital to the communication and preservation of metadata, which is critical in implementing the IPTC and PLUS standards. We join IPTC in supporting the adoption of the Guidelines, and look forward to working closely with the Working Group when they begin to address professional metadata issues." The full statement of IPTC and PLUS can be retrieved from www.iptc.org/goto?mwg2008 About the PLUS Coalition The PLUS Coalition, an international non-profit organization, has developed the Picture Licensing Universal System (PLUS), a comprehensive system of standards that simplifies and facilitates the communication and management of image rights. PLUS is a collaboration between major stakeholders in all industries involved in creating, distributing, using and preserving images. PLUS supports multi-lingual use, global commerce and the preservation and exchange of cultural heritage. Learn more about PLUS at www.usePLUS.org For more information contact Jeff Sedlik, info at usePLUS.org About IPTC The IPTC, based in London, UK, is a consortium of the world's major news agencies, news publishers and news industry vendors. It develops and maintains technical standards for improved news exchange that are used by virtually every major news organization in the world. Information on all IPTC standards such as the new family of IPTC G2-Standards, the existing NewsML 1, NITF, SportsML, IIM standards and the NewsCodes together with a list of existing members and information on how to join is available at http://www.iptc.org For more information contact Michael Steidl, office at iptc.org From Christinad at SeattleArtMuseum.org Fri Oct 10 12:03:25 2008 From: Christinad at SeattleArtMuseum.org (Christina DePaolo) Date: Fri, 10 Oct 2008 12:03:25 -0700 Subject: [MCN-L] Job Posting, Web Editor for ClassicalTV Message-ID: <6440C474B3F6FE4EB44B34421B3E501E160219E987@dtes01.SAM.Home> Hi, I am posting this for a friend of mine who wants to get the word out. Christina Web Editor - USA ClassicalTV will be the only significant destination for an Internet user looking to watch classical music, opera, ballet, musicals, classic theatre, dance or other performing arts events and documentaries. Who we are looking for? This is a rare opportunity for someone who lives and breathes performing arts, to combine their excellent website editorial skills. You will be a person who understands the web, what it can do and where it is going. However, just as important you will have a good knowledge of the performing arts, in particular classical music and dance. Twittering will be second nature and, if anything, deemed old hat. You will be a combination of personality, enthusiasm and probably a dash of eccentricity! You will be a networker, have trend awareness and be well informed about the performing arts scene, a self-starter, digitally enthusiastic but not a performing arts snob or elitist. What the role entails. To bring to life the world of performing arts by overseeing and developing the ClassicalTV website narrative. You will be required to produce accurate and inventive copy and to introduce "sticky" ideas to accompany the viewing of our massive video library. You will also work with key teams and individuals to develop an effective 'voice' for Classical TV, both write and commission articles for the website. You will be required to handle all types of media in preparation for upload through our CMS. The ideal candidate will tick the following boxes: * Excellent copy writing skills for writing, editing and managing the development, blog posts and reviews * Experience in Performing Arts entertainment (music and dance preferred-journalistic experience especially helpful * Prior web production experience with consumer facing products * Previous CMS experience-familiarity and comfort with html based back end systems and utilization of multiple technical platforms * Commercially savvy- demonstrated knowledge of search engine optimization (SEO), traffic metrics, advertising units, sponsorship programs * Experience with web based guerrilla marketing, social marketing and content driven reach expansion * Ability to work on own and make mature decisions Location: US (Home based with regular team meetings in New York or Washington) Salary: TBC depending on experience Annual Contract Instructions for applicants: Please email an up to date CV and brief covering note explaining why you would be suitable for this post and if available a sample of your work via either a URL link or PDF file. Contact: derek.nelson at classicaltv.co.uk From hucuien at u.washington.edu Mon Oct 13 20:41:56 2008 From: hucuien at u.washington.edu (hucuien at u.washington.edu) Date: Mon, 13 Oct 2008 20:41:56 -0700 (PDT) Subject: [MCN-L] Call for Papers: Museums & Social Issues: A Journal of Reflective Discourse Message-ID: Dear Colleagues, Please find the below Call for Papers for Museums & Social Issues Volume 4, Issue 1, Science in Civic Life; and Volume 4, Issue 2, Losing Touch with Nature (both working titles). Museums & Social Issues, a new peer-reviewed journal published by Left Coast Press, Inc., provides an important forum for the consideration of social issues and their engagement with museums. Each issue focuses on a specific theme, and includes theoretical, philosophical and practical perspectives from inside and outside the museum field, exploring and reflecting upon the intersections between society and museums. Interested authors, advisors, and reviewers should send an ?Intent to Submit? notice to Kris Morrissey (Morriss8 at u.washington.edu) by October 30, 2008 (Vol 4.1) or December 10, 2008 (Vol 4.2). For information about subscribing to this journal please contact: Left Coast Press, Inc. http://www.lcoastpress.com/ Phone & Fax: 925-935-3380 ************************************************** Museums & Social Issues Call for Papers Vol. 4 The Coalition on the Public Understanding of Science (COPUS) has declared 2009 as the Year of Science. This event provides opportunities for discussion about issues currently facing our society, the role of science in addressing those issues, and the boundaries and intersections between science and other domains of human knowledge, including religion, economics, ethics and politics. Museums & Social Issues is currently seeking submissions and individuals interested in serving as advisors, reviewers, or authors for both issues of Volume 4. For a full Call for Papers for either issue, contact Kris Morrissey (Editor) at Morriss8 at u.washington.edu. Museums & Social Issues is a peer-reviewed journal published by Left Coast Press, Inc. The journal provides a forum for discourse about social issues and the engagement of museums. Each journal includes theoretical, philosophical, and practical perspectives. Vol. 4, Issue 1 Science in Civic Life (working title) Robert Garfinkle, Co-editor (garfinkle at smm.org), Director, Science and Social Change Program, Science Museum of Minnesota. Articles or book and exhibit reviews are encouraged that address the nexus where the enterprise of science, urgent social issues, institutions of public trust, and the civic life of our country come together. What are the assumptions, intentions, power relationships, and effectiveness of the communication between science educators and communicators in many realms, and the stakeholders, citizens, visitors, and policymakers with which they communicate? And what role can and should institutions of public trust such as museums, zoos, aquaria, and science advocacy organizations play in our civic life? Articles are due December 1. Authors should request a full call for papers and send an ?Intent to Submit? notice to Kris Morrissey (Morriss8 at u.washington.edu) by October 30 with articles due in December. Vol. 4, Issue 2 Losing Touch with Nature (working title) Elizabeth Baird, Co-editor (liz.baird at ncmail.net), North Carolina Museum of Natural Sciences. This publication will provide a forum to bring together diverse areas of study relevant to understanding our human connection with nature, implications of losing that connection and role of museums in facilitating connections with the natural environment. Insightful articles addressing (synthesizing and analyzing) any aspect of the interaction between museums and nature welcome. Authors are encouraged to request full call for papers and to send an ?Intent to Submit? notice to Kris Morrissey (Morriss8 at u.washington.edu) by December 10, 2008 with articles due March 2009. For information about submitting material: Kris Morrissey Editor, Museums & Social Issues Morriss8 at u.washington.edu For information about subscribing: Left Coast Press, Inc. http://www.lcoastpress.com/ Phone & Fax: 925-935-3380 From remko.jansonius at vizcayamuseum.org Tue Oct 14 14:04:21 2008 From: remko.jansonius at vizcayamuseum.org (Jansonius, Remko (Vizcaya)) Date: Tue, 14 Oct 2008 17:04:21 -0400 Subject: [MCN-L] photography, digitization, and a color/grey card? Message-ID: <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3@s0141136.miamidade.gov> Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL From FThomson at ashevilleart.org Tue Oct 14 14:06:12 2008 From: FThomson at ashevilleart.org (Frank E. Thomson) Date: Tue, 14 Oct 2008 17:06:12 -0400 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3@s0141136.miamidade.gov> References: <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3@s0141136.miamidade.gov> Message-ID: <6905D9194DC5B6489FA18E7E0763D9740701097682@server4.ashart.local> I would suggest shooting an image of the color bar at the start of each session, maybe not in every image. But it would be helpful later trying to match color and value. Frank Thomson, Curator Asheville Art Museum PO Box 1717 Asheville, NC 28802 828.253.3227 tel 828257.4503 fax www.ashevilleart.org -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Tuesday, October 14, 2008 5:04 PM To: mcn-l at mcn.edu Subject: [MCN-L] photography, digitization, and a color/grey card? Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From tatherton at st-albert.net Tue Oct 14 15:38:54 2008 From: tatherton at st-albert.net (Tim Atherton) Date: Tue, 14 Oct 2008 16:38:54 -0600 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: <6905D9194DC5B6489FA18E7E0763D9740701097682@server4.ashart.local> Message-ID: And don't bother with the Kodak cards - get the Gretag Macbeth ones instead. (they usefully come in a couple of sizes as well). (especially, don't rely on old colour charts you may have around from the days when you had a photographer 7 or 8 years ago. They fade over time and the colours also fade differentially) http://xrite.gretagmacbethstore.com/index.cfm?act=catalog.cfm&menugroup=__me nu+usa+new tim a -- Tim Atherton Assistant Curator (Archives & Research) Mus?e H?ritage Museum, St. Albert (780) 459-1594 tatherton at st-albert.net On 10/14/08 3:06 PM, "Frank E. Thomson" wrote: > I would suggest shooting an image of the color bar at the start of each > session, maybe not in every image. But it would be helpful later trying to > match color and value. > > Frank Thomson, Curator > > Asheville Art Museum > > PO Box 1717 > > Asheville, NC 28802 > > 828.253.3227 tel > > 828257.4503 fax > > www.ashevilleart.org > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Jansonius, Remko (Vizcaya) > Sent: Tuesday, October 14, 2008 5:04 PM > To: mcn-l at mcn.edu > Subject: [MCN-L] photography, digitization, and a color/grey card? > > Dear Colleagues, > > > > We are about to digitize a collection of photo albums containing > 1910s/20s photographs; while they are black and white, many have > discolored and turned sepia over the years. Since these are fragile, > bound volumes we will be doing this through photography rather than > scanning. Would you say it is necessary or advisable or standard > practice to use a color card or a grey card during this process? > > > > As always, I greatly appreciate y'all's input! > > > > Sincerely, > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l -- Tim Atherton Assistant Curator Mus?e H?ritage Museum, St. Albert (780) 459-1594 tatherton at st-albert.net From dnilsen at ccp.library.arizona.edu Tue Oct 14 16:22:45 2008 From: dnilsen at ccp.library.arizona.edu (Nilsen, Dianne) Date: Tue, 14 Oct 2008 16:22:45 -0700 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: References: <6905D9194DC5B6489FA18E7E0763D9740701097682@server4.ashart.local> Message-ID: <26C6B0CCB6892843849BE72624C9D12E0436C85A@medusa.library.arizona.edu> At the Center for Creative Photography, University of Arizona, our imaging department places a Kodak color bar and grayscale within every scan. We replace the targets every 6 months or so and keep them in their enclosures within light tight drawers to minimize fading. Just yesterday, one of my interns from the art department questioned the quality of one of our scans of a Robert Heinecken photograph. I pointed out to her that because the artist was experimental in his approach, the images did not always look like one would expect a full toned black and white photograph to look. The clue was in the appearance of the targets and the tonal percentages we measure within them. The National Archives and Records Administration guidelines below are particularly useful as they suggest specific values to aim for in the black, white and middle gray of the Kodak targets. The NARA target recommendations are very closely aligned with recommendations we have garnered from pre-press digital professionals for creating publication quality scans. See pages 35 and 36 in the guidelines below for handy illustrations. http://www.archives.gov/preservation/technical/guidelines.html Based on Tim Atherton's comments, I wish a similar guide would be published that references the Greytag MacBeth targets. Kodak targets are getting hard to find. If anyone has seen a publication comparable to the NARA guidelines that reference the MacBeth targets I would be interested in learning about it. Best, Dianne ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? Dianne Nilsen Head of Digital Initiatives and Imaging Center for Creative Photography The University of Arizona P.O. Box 210103 Tucson, AZ? 85721-0103 ? p. 520-307-2829 f. 520-621-9444 http://www.creativephotography.org -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Tim Atherton Sent: Tuesday, October 14, 2008 3:39 PM To: Museum Computer Network Listserv Subject: Re: [MCN-L] photography, digitization, and a color/grey card? And don't bother with the Kodak cards - get the Gretag Macbeth ones instead. (they usefully come in a couple of sizes as well). (especially, don't rely on old colour charts you may have around from the days when you had a photographer 7 or 8 years ago. They fade over time and the colours also fade differentially) http://xrite.gretagmacbethstore.com/index.cfm?act=catalog.cfm&menugroup=__me nu+usa+new tim a -- Tim Atherton Assistant Curator (Archives & Research) Mus?e H?ritage Museum, St. Albert (780) 459-1594 tatherton at st-albert.net On 10/14/08 3:06 PM, "Frank E. Thomson" wrote: > I would suggest shooting an image of the color bar at the start of each > session, maybe not in every image. But it would be helpful later trying to > match color and value. > > Frank Thomson, Curator > > Asheville Art Museum > > PO Box 1717 > > Asheville, NC 28802 > > 828.253.3227 tel > > 828257.4503 fax > > www.ashevilleart.org > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Jansonius, Remko (Vizcaya) > Sent: Tuesday, October 14, 2008 5:04 PM > To: mcn-l at mcn.edu > Subject: [MCN-L] photography, digitization, and a color/grey card? > > Dear Colleagues, > > > > We are about to digitize a collection of photo albums containing > 1910s/20s photographs; while they are black and white, many have > discolored and turned sepia over the years. Since these are fragile, > bound volumes we will be doing this through photography rather than > scanning. Would you say it is necessary or advisable or standard > practice to use a color card or a grey card during this process? > > > > As always, I greatly appreciate y'all's input! > > > > Sincerely, > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l -- Tim Atherton Assistant Curator Mus?e H?ritage Museum, St. Albert (780) 459-1594 tatherton at st-albert.net _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From akeshet at imj.org.il Wed Oct 15 01:18:43 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Wed, 15 Oct 2008 10:18:43 +0200 Subject: [MCN-L] IP SIG: No fair use for thumbnails in Germany Message-ID: <149FDECF7500014B85D070C43C708BE703E64C38@mail3.imj.org.il> "As much as people complain about the challenges of balancing copyrights and fair use in the US, overseas courts have been happy to provide examples that remind us that some aspects of US copyright law are actually fairly liberal. The latest such reminder comes courtesy of a case in Germany that revisits an issue that appears settled in the US: the right of image search services to create thumbnails from copyrighted works to display with the search results. The German courts have now determined that this is not OK in Germany, where Google has just lost two copyright suits over image thumbnails..." http://arstechnica.com/news.ars/post/20081013-german-court-google-image-thumbnails-infringe-on-copyright.html Just for reference, re: US law: Google v. Perfect 10: Appeals court affirms that thumbnails are fair use http://arstechnica.com/news.ars/post/20070517-google-v-perfect-10-appeals-court-affirms-that-thumbnails-are-fair-use.html Amalyah Keshet Chair, MCN IP SIG From akeshet at imj.org.il Wed Oct 15 02:03:35 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Wed, 15 Oct 2008 11:03:35 +0200 Subject: [MCN-L] IP SIG: McCain-Palin, DMCA, YouTube, and Fair Use Message-ID: <149FDECF7500014B85D070C43C708BE703E64C3D@mail3.imj.org.il> Speaking of fair use: ________________________________ For any who have not seen this story: "McCain Campaign Feels DMCA Sting Legal Analysis by Fred von Lohmann Yesterday, the McCain-Palin campaign sent a letter to YouTube describing the troubles it has been having with bogus DMCA takedowns targeting its videos: [O]verreaching copyright claims have resulted in the removal of non- infringing campaign videos from YouTube, thus silencing political speech. Numerous times during the course of the campaign, our advertisements or web videos have been the subject of DMCA takedown notices regarding uses that are clearly privileged under the fair use doctrine. The uses at issue have been the inclusion of fewer than ten seconds of footage from news broadcasts in campaign ads or videos, as a basis for commentary on the issues presented in the news reports, or on the reports themselves. These are paradigmatic examples of fair use... It's heartening to see a presidential campaign recognize the importance of fair use and "remix culture" (the Obama-Biden campaign has also been the victim of frivolous takedowns from big media companies, so this is a bipartisan problem). EFF, the ACLU, Harvard's Citizen's Media Law Project, and Stanford's Fair Use Project have been making the same point for several years now. EFF has also been providing direct legal assistance to victims of DMCA abuse. Unfortunately, the solution proposed by the McCain campaign addresses only the tip of the iceberg: [W]e believe that it would consume few resources--and provide enormous benefit--for YouTube to commit to a full legal review of all takedown notices on videos posted from accounts controlled by (at least) political candidates and campaigns. The obvious problem with this solution? It assumes that YouTube should prioritize the campaigns' fair use rights, rather than those of the rest of us. That seems precisely backwards, since the most exciting new possibilities on YouTube are for amateur political expression by the voters themselves. After all, the campaigns have no trouble getting the same ads out on television and radio, options not available to most YouTubers. Let's start by identifying the real villains here: the major news media outlets. They are the ones censoring these political ads, based on the use of a few seconds of their footage. The networks need to back off and give fair use a wide berth. So let's start by shaming the bad guys here. In addition, lawsuits might help. Under the DMCA, both the campaigns themselves and YouTube have standing to sue those who send clearly bogus takedown notices. (EFF has represented video creators in a number of these cases, including against Viacom.) There are other possible solutions, as well. Stay tuned for our specific ideas on what YouTube can do to protect fair use while staying within the bounds of its DMCA safe harbor protection (hint: as the McCain-Palin letter points out, you don't need a safe harbor if the video isn't infringing, something that human review by YouTube should be able to determine). UPDATE: The McCain-Palin campaign has identified the news outlets behind the YouTube removals: CBS, Fox News, and the Christian Broadcasting Network. We noted above that NBC has targeted an Obama- Biden video for removal. That's four news entities that should know better." _______________________________________________ From genevieve.demahy at warmuseum.ca Wed Oct 15 06:47:30 2008 From: genevieve.demahy at warmuseum.ca (Genevieve De mahy) Date: Wed, 15 Oct 2008 09:47:30 -0400 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3@s0141136.miamidade.gov> Message-ID: <7AFD6DC5E35B8A418D74129B8FD50D09020E63A3@MAIL-VIRTUAL-SR.civilisations.ca> Dear Remko, As Dianne mentioned, the color bars are extremely important parts of digitizing a collection, particularly when you are dealing with older photographs that may vary in condition. The CWM recently digitized over 6,800 official photographs from the First World War, most of which had been stuck in albums for decades. The decision was made to remove them from the deteriorating condition of the albums themselves, and we were left with every kind of problem from color fade to cracking. We went ahead with careful scanning nonetheless and always used a color bar in that process. Even though this initiative was funded in support of our latest online project, the now digital photos selected from this collection for use in the module were then cropped to remove the color bar for the shows version of the captured image. I insisted on ensuring the primary archival function of the artifact was prominent over the one-time "show" requirement, regardless of the extra resources required to accomplish it, and it has served us well. Not only is the show a great success, showing 261 of the beautiful images, but our Image Reproduction Services reports requests for other images from the collection, and because they have the Master digital to work with, color bar and all, they can accommodate the broadest range of requests without having to manipulate the original, fragile, image again. My suggestion would be not to short change yourself on future use, take the time now to ensure it is done for years to come. Regards, Genevieve -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Tuesday, October 14, 2008 5:04 PM To: mcn-l at mcn.edu Subject: [MCN-L] photography, digitization, and a color/grey card? Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From dzorich at mindspring.com Wed Oct 15 07:13:16 2008 From: dzorich at mindspring.com (Diane M. Zorich) Date: Wed, 15 Oct 2008 10:13:16 -0400 Subject: [MCN-L] Digitization - definition and strategic planning Message-ID: Dear Colleagues, Two requests in this message: First, the Smithsonian Institution is undertaking a pan-institutional strategic planning process for digitization and one of the interesting things to arise during the investigative phase is the varying perceptions of what constitutes "digitization". Unfortunately, following Justice Potter Stewart's famous adage "I know it when I see it" isn't good enough here. The planning committee needs to articulate a clear definition. To this end, we'd like to know "How does your institution define digitization? Second, does your institution have a strategic plan for digitization that it would share with the committee? We are not looking for IT plans, but plans that outline how an institution has chosen to identify what it will digitize, how it will digitize the chosen materials, and how it will make these digital assets accessible.] Many thanks. Diane Zorich (On behalf of the Smithsonian Digitization Strategic Planning Committee) -- Diane M. Zorich 113 Gallup Road Princeton, NJ 08542 USA Voice: 609-252-1606 Fax: 609-252-1607 Email: dzorich at mindspring.com or dianezorich at comcast.net From remko.jansonius at vizcayamuseum.org Wed Oct 15 07:39:58 2008 From: remko.jansonius at vizcayamuseum.org (Jansonius, Remko (Vizcaya)) Date: Wed, 15 Oct 2008 10:39:58 -0400 Subject: [MCN-L] free ftp software? Message-ID: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> Dear Colleagues, When googling "free ftp software" several types of software show up. Is there any one in particular that you would recommend or un-recommend? Thank you, once gain, for your input! Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL From chris.edwards at yale.edu Wed Oct 15 07:42:57 2008 From: chris.edwards at yale.edu (Edwards, Chris) Date: Wed, 15 Oct 2008 10:42:57 -0400 Subject: [MCN-L] free ftp software? In-Reply-To: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> References: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> Message-ID: <254B49773DA57546A3AB884EDCF8D3F626A0C45EB4@XVS3-CLUSTER.yu.yale.edu> Fetch FTP for mac is good and they have a free institutional license -- Chris Edwards Digital Studio Production Manager Beinecke Rare Book and Manuscript Library Yale University Tel: 203.436.4690 chris.edwards at yale.edu ________________________________________ From: mcn-l-bounces at mcn.edu [mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) [remko.jansonius at vizcayamuseum.org] Sent: Wednesday, October 15, 2008 10:39 AM To: mcn-l at mcn.edu Subject: [MCN-L] free ftp software? Dear Colleagues, When googling "free ftp software" several types of software show up. Is there any one in particular that you would recommend or un-recommend? Thank you, once gain, for your input! Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From dbartolini at nyscience.org Wed Oct 15 07:47:49 2008 From: dbartolini at nyscience.org (Daniel M. Bartolini) Date: Wed, 15 Oct 2008 10:47:49 -0400 Subject: [MCN-L] free ftp software? In-Reply-To: <254B49773DA57546A3AB884EDCF8D3F626A0C45EB4@XVS3-CLUSTER.yu.yale.edu> References: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> <254B49773DA57546A3AB884EDCF8D3F626A0C45EB4@XVS3-CLUSTER.yu.yale.edu> Message-ID: <48F60295.5040505@nyscience.org> Mac: Cyberduck rocks. Windows: WinSCP Linux: they're all free Edwards, Chris wrote: > Fetch FTP for mac is good and they have a free institutional license > -- > Chris Edwards > Digital Studio Production Manager > Beinecke Rare Book and Manuscript Library > Yale University > Tel: 203.436.4690 > chris.edwards at yale.edu > > ________________________________________ > From: mcn-l-bounces at mcn.edu [mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) [remko.jansonius at vizcayamuseum.org] > Sent: Wednesday, October 15, 2008 10:39 AM > To: mcn-l at mcn.edu > Subject: [MCN-L] free ftp software? > > Dear Colleagues, > > > > When googling "free ftp software" several types of software show up. > > Is there any one in particular that you would recommend or un-recommend? > > > > Thank you, once gain, for your input! > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > From elizabeth.bruton at mhs.ox.ac.uk Wed Oct 15 07:58:54 2008 From: elizabeth.bruton at mhs.ox.ac.uk (Elizabeth Bruton) Date: Wed, 15 Oct 2008 15:58:54 +0100 Subject: [MCN-L] free ftp software? In-Reply-To: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> Message-ID: <20081015145854.2687816798@webmail218.herald.ox.ac.uk> An embedded and charset-unspecified text was scrubbed... Name: not available Url: http://toronto.mediatrope.com/pipermail/mcn-l/attachments/20081015/0bc62658/attachment.bat From tdavenport at npowercharlotteregion.org Wed Oct 15 08:21:33 2008 From: tdavenport at npowercharlotteregion.org (Tracy Davenport) Date: Wed, 15 Oct 2008 11:21:33 -0400 Subject: [MCN-L] free ftp software? In-Reply-To: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> References: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> Message-ID: <15150CBCC92A2E45B65B6CD7582A9747134A8E47DB@EVS-RED.coloflorida.com> Remko: It depends on what you are trying to accomplish. If you simply want to download or upload files from an existing source, then an FTP Client is what you want, and there are several good free ones. I use FileZilla and it is available for Windows, Mac, and Linux. Another Windows option is WS_FTP, and other Mac options are Fetch and CyberDuck. On the other hand, if you want to set up a file repository to make files available remotely to yourself or others, then you need a FTP Server, and there are also several good free ones. Again, FileZilla offers a good product, although it runs only on Windows. Other options for Mac or Linux are ProFTPd or PureFTPd. Best regards, Tracy Davenport Senior Consultant NPower Charlotte Region Charlotte, NC (704) 716-7767 ext. 231 tdavenport at npowercharlotteregion.org -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Wednesday, October 15, 2008 10:40 AM To: mcn-l at mcn.edu Subject: [MCN-L] free ftp software? Dear Colleagues, When googling "free ftp software" several types of software show up. Is there any one in particular that you would recommend or un-recommend? Thank you, once gain, for your input! Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From MJohnson at historysanjose.org Wed Oct 15 08:44:01 2008 From: MJohnson at historysanjose.org (Melissa Johnson) Date: Wed, 15 Oct 2008 08:44:01 -0700 Subject: [MCN-L] free ftp software? In-Reply-To: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> References: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> Message-ID: <518A20175FE51D4B9EBBB9DB28F6E06E47634D@athene.historysanjose.org> I use Filezilla. It's pretty simple and, so far, has met all of my limited needs. --Melissa Melissa Johnson Curator of Interactive Media history|san jos? -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Wednesday, October 15, 2008 7:40 AM To: mcn-l at mcn.edu Subject: [MCN-L] free ftp software? Dear Colleagues, When googling "free ftp software" several types of software show up. Is there any one in particular that you would recommend or un-recommend? Thank you, once gain, for your input! Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From jfevans at Princeton.EDU Wed Oct 15 08:59:56 2008 From: jfevans at Princeton.EDU (Jeff Evans) Date: Wed, 15 Oct 2008 11:59:56 -0400 Subject: [MCN-L] The Museum System on Mac via VMWare Fusion Message-ID: Hi ? Is anyone running TMS on an new Intel Mac via VMWare Fusion? Pros and cons? Likes and dislikes? JEFF Jeffrey Evans Digital Imaging Specialist Princeton University Art Museum 609.258.8579 From psully at magnes.org Wed Oct 15 10:18:44 2008 From: psully at magnes.org (Perian Sully) Date: Wed, 15 Oct 2008 10:18:44 -0700 Subject: [MCN-L] free ftp software? In-Reply-To: <20081015145854.2687816798@webmail218.herald.ox.ac.uk> References: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> <20081015145854.2687816798@webmail218.herald.ox.ac.uk> Message-ID: I use both of these myself. I am more comfortable with Filezilla and use it for more traditional FTP sites, but WinSCP's use of SCP means I end up using it for one other site I connect to on a regular basis (this site doesn't allow FTP or SFTP) Perian Sully Collections Information and Web Programs Manager Judah L. Magnes Museum -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Elizabeth Bruton Sent: Wednesday, October 15, 2008 7:59 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] free ftp software? I'd recommend WinSCP or Filezilla, both are free, open source FTP clients. Filezilla Pros: Available for Windows, Mac, and Linux Cons: No synchronize feature; does not support SCP protocol WinSCP Pros: Has portable executable version; has synchronize feature; supports SCP protocol in addition to SFTP & FTP Cons: Only available for Windows Liz > You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l From NHoneysett at getty.edu Wed Oct 15 15:46:15 2008 From: NHoneysett at getty.edu (Nik Honeysett) Date: Wed, 15 Oct 2008 15:46:15 -0700 Subject: [MCN-L] free ftp software? In-Reply-To: References: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> <20081015145854.2687816798@webmail218.herald.ox.ac.uk> Message-ID: <48F61040.65B4.001D.0@getty.edu> I use FireFTP - a Firefox plugin -nik >>> "Perian Sully" 10/15/2008 10:18 AM >>> I use both of these myself. I am more comfortable with Filezilla and use it for more traditional FTP sites, but WinSCP's use of SCP means I end up using it for one other site I connect to on a regular basis (this site doesn't allow FTP or SFTP) Perian Sully Collections Information and Web Programs Manager Judah L. Magnes Museum -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Elizabeth Bruton Sent: Wednesday, October 15, 2008 7:59 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] free ftp software? I'd recommend WinSCP or Filezilla, both are free, open source FTP clients. Filezilla Pros: Available for Windows, Mac, and Linux Cons: No synchronize feature; does not support SCP protocol WinSCP Pros: Has portable executable version; has synchronize feature; supports SCP protocol in addition to SFTP & FTP Cons: Only available for Windows Liz > You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From aridavidow at gmail.com Wed Oct 15 17:58:40 2008 From: aridavidow at gmail.com (Ari Davidow) Date: Wed, 15 Oct 2008 20:58:40 -0400 Subject: [MCN-L] free ftp software? In-Reply-To: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> References: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A@s0141136.miamidade.gov> Message-ID: <747cfaf50810151758w2098d1f5r933331a81e95b01@mail.gmail.com> We use Filezilla for file transfers and it's fine. In our case, we suggest that staff never use services that rely on old, insecure FTP which sends a login/username in clear text over the 'net, but rather to use SFTP or FTP over SSH. In truth, for most people, it is far easier to use free file transfer services, to upload materials to a website with your content management system for download using a web browser; or to embed files in wiki pages. I would look askance at any production process that requires frequent use of Filezilla or its siblings--there are the potential security issues, and, these days, the people you want to get files to are more used to web browsers and email. There are also contextual problems--finding a file in a list of filenames (the interface supported by FTP, SFTP, etc.) is significantly more difficult that using a website's search engine, or being able to follow a well-written link that explains a file's context (possibly embedded in a paragraph or webpage providing even more context). I suppose it's time to write a blog entry on this subject ;-). My unrequested two cents, ari On Wed, Oct 15, 2008 at 10:39 AM, Jansonius, Remko (Vizcaya) < remko.jansonius at vizcayamuseum.org> wrote: > Dear Colleagues, > > > > When googling "free ftp software" several types of software show up. > > Is there any one in particular that you would recommend or un-recommend? > > > > Thank you, once gain, for your input! > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > From mcn-announce at mcn.edu Thu Oct 16 06:29:13 2008 From: mcn-announce at mcn.edu (MCN Announcements) Date: Thu, 16 Oct 2008 09:29:13 -0400 Subject: [MCN-L] Museum Computer Network Conference - Hotel Group Rate Deadline Message-ID: <48F741A9.3060404@mcn.edu> Join the Museum Computer Network in Washington DC in November and learn from colleagues from all across the country and the world. MCN?s 36th annual conference promises to be better than ever, highlighting innovation, collections access, open source technology, and issues of national importance in the museum, archive and library environment. Register online now at http://www.mcn.edu/conferences/index.asp?subkey=888 Rooms are still available at the conference hotel for the Museum Computer Network 2008 conference! We have arranged a special MCN Conference Rate of $224 per night single or double occupancy valid for Tuesday, November 11th through Saturday, November 15th. We?d like as many of our attendees as possible to take advantage of the special MCN discount rate at the Grand Hyatt Washington, and enjoy the convenience of staying at the conference hotel, within walking distance to so many of DC?s attractions. Remember, the hotel group rate expires Saturday, October 18. We encourage attendees to reserve accommodations at the conference hotel, which helps keep conference costs down. To make reservations online, click HERE. [http://grandwashington.hyatt.com/groupbooking/wasghmuse2008 ] To make reservations by telephone, call the hotel at (202) 582-1234. Be sure to mention that you are attending the MCN Conference. GRAND HYATT WASHINGTON 1000 H Street NW, Washington, D.C., USA 20001 Tel: (202) 582-1234 Fax: (202) 637-4781 Visit www.mcn.edu/conferences for more information about registration, the full schedule of registration rates and discounts, conference program, and hotel & travel information. From mcn-announce at mcn.edu Wed Oct 15 13:52:07 2008 From: mcn-announce at mcn.edu (MCN Announcements) Date: Wed, 15 Oct 2008 16:52:07 -0400 Subject: [MCN-L] Museum Computer Network Conference - Hotel Group Rate Deadline Message-ID: <48F657F7.6050606@mcn.edu> With apologies for cross-posting? Join the Museum Computer Network in Washington DC in November and learn from colleagues from all across the country and the world. MCN?s 36th annual conference promises to be better than ever, highlighting innovation, collections access, open source technology, and issues of national importance in the museum, archive and library environment. Register online now at http://www.mcn.edu/conferences/index.asp?subkey=888 Rooms are still available at the conference hotel for the Museum Computer Network 2008 conference! We have arranged a special MCN Conference Rate of $224 per night single or double occupancy valid for Tuesday, November 11th through Saturday, November 15th. We?d like as many of our attendees as possible to take advantage of the special MCN discount rate at the Grand Hyatt Washington, and enjoy the convenience of staying at the conference hotel, within walking distance to so many of DC?s attractions. Remember, the hotel group rate expires Saturday, October 18. We encourage attendees to reserve accommodations at the conference hotel, which helps keep conference costs down. To make reservations online, click HERE. [http://grandwashington.hyatt.com/groupbooking/wasghmuse2008 ] To make reservations by telephone, call the hotel at (202) 582-1234. Be sure to mention that you are attending the MCN Conference. GRAND HYATT WASHINGTON 1000 H Street NW, Washington, D.C., USA 20001 Tel: (202) 582-1234 Fax: (202) 637-4781 Visit www.mcn.edu/conferences for more information about registration, the full schedule of registration rates and discounts, conference program, and hotel & travel information. From melings at library.berkeley.edu Wed Oct 15 15:36:26 2008 From: melings at library.berkeley.edu (M. Elings) Date: Wed, 15 Oct 2008 15:36:26 -0700 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3@s0141136.miamidad e.gov> References: <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3@s0141136.miamidade.gov> Message-ID: <7.0.1.0.2.20081015085540.027cdf90@library.berkeley.edu> We use standard color targets in all full color scans from reflective originals (see attached) either using a flatbed scanner or digital photography. We use targets with color, gray scale and size indicators to provide viewers of the image with visible and measurable information with which to judge the qualities of the original. Some think it is overkill to have the target in every image but they serve as an objective measure which travels with the digital file. It can be cropped out if not needed but for archival or museum images this can be important to researchers. The gray scale/color patch target we derive is based on the Kodak/Tiffen Q-13. An even more popular color target is the Gretag MacBeth Colorchecker, in several versions, but it's rectangular format doesn't fit along the edge of an image very well. You can find either kind at a pro-level camera store or mail-order house. e.g. http://www.bhphotovideo.com/c/product/26662-REG/Kodak_1527654_Color_Separation_Guide_and.html/BI/1239/kw/KOCSGS Also, here is an interesting (yet older) article on the topic: http://palimpsest.stanford.edu/byauth/vitale/color-targets/ Mary W. Elings Archivist for Digital Collections The Bancroft Library University of California Berkeley, CA 94720-6000 At 02:04 PM 10/14/2008, Jansonius, Remko (Vizcaya) wrote: >Dear Colleagues, > > > >We are about to digitize a collection of photo albums containing >1910s/20s photographs; while they are black and white, many have >discolored and turned sepia over the years. Since these are fragile, >bound volumes we will be doing this through photography rather than >scanning. Would you say it is necessary or advisable or standard >practice to use a color card or a grey card during this process? > > > >As always, I greatly appreciate y'all's input! > > > >Sincerely, > > > >Remko Jansonius > >Collections and Archives Manager > >Vizcaya Museum and Gardens > >Miami, FL > >_______________________________________________ >You are currently subscribed to mcn-l, the listserv of the Museum >Computer Network (http://www.mcn.edu) > >To post to this list, send messages to: mcn-l at mcn.edu > >To unsubscribe or change mcn-l delivery options visit: >http://toronto.mediatrope.com/mailman/listinfo/mcn-l Mary W. Elings Archivist for Digital Collections The Bancroft Library University of California Berkeley, CA 94720-6000 melings*library.berkeley.edu Ph 510-643-2273 Fx 510-643-2548 From mcn-announce at mcn.edu Fri Oct 17 10:34:33 2008 From: mcn-announce at mcn.edu (MCN Announcements) Date: Fri, 17 Oct 2008 13:34:33 -0400 Subject: [MCN-L] Museum Computer Network Scholarship Awards Message-ID: <48F8CCA9.90506@mcn.edu> The Museum Computer Network is pleased to announce the selection of scholarship recipients for the 2008 Annual Conference in Washington, DC. Five outstanding professionals were selected from a large pool of excellent applicants to receive waived conference fees and a travel stipend. Congratulations to all recipients! * Kyle Elizabeth Bryner, Museum of Anthropology at Wake Forest University, Winston-Salem, North Carolina * David Farrell, Peel Heritage Complex, Brampton, Ontario * Amber Morgan, Andy Warhol Museum, Pittsburgh, Pennsylvania * Erin Noseworthy, Hunter Museum of American Art, Chattanooga, Tennessee * Donald Urquhart, Portland Art Museum, Portland, Oregon Visit www.mcn.edu/conferences for more information about the MCN Annual Conference. From thomas.raich at yale.edu Fri Oct 17 12:53:50 2008 From: thomas.raich at yale.edu (Raich, Thomas) Date: Fri, 17 Oct 2008 15:53:50 -0400 Subject: [MCN-L] Request for feedback on internal operations Message-ID: <7102B05B2681214E829B6EDBB00B2FC32D10A43BCD@XVS2-CLUSTER.yu.yale.edu> Dear colleagues, I am writing to learn what the museum and collections community is using for a variety of services I outline below. I am looking to improve these services within our Gallery in a centralized fashion to minimize support efforts and to maximize the ability to reuse the data. Most of the services I describe are for internal operations. * Scheduling How does your institution track project milestones, events, room reservations, exhibition planning (e.g. out to three years). This is an internal communication device, compared to Calendaring, which is meant for the public. * Calendaring I differentiate from Scheduling by recognizing Calendaring is for publishing events, activities, lectures, &tc. to the outside community (whether through Internet, website, RSS, kiosks, email, &tc.) (Note: one or more of the other services could feed this.) * Project Management Software to develop scope, track milestones, manage dependencies across multiple projects and work with resources to ensure sufficient effort on task. In general I am thinking of simple PM software to help with basics. * Ticketing/Helpdesk In the IT world a ticket would generate a request for assistance; further this would also allow a photography request through a customized form, initiate the procedure for request of an art object. * Inventory What are you using to track items - such as computers and audio video equipment, specialized exhibition equipment (audio-video), and - not just IT related items - also framing and packing supplies throughout your institution. I am interested in an umbrella solution; where a unified login would be possible, data interchange between the services and a user would have access to a personal dashboard (different for a photographer, an exhibition installer or an IT person.) I am deeply interested in what people are using for each service listed, and especially if anyone has more than one service covered by a single company/application. Further, if you are interested in the same problem, again let me know as we could seek various methods to brainstorm, project and development sharing and exploration. Please reply to me, and I will summarize for the list. Best, Thomas Thomas R. Raich Information Technology Group Yale University Art Gallery o: 203.432.6589 f: 203.432.9260 thomas.raich at yale.edu http://artgallery.yale.edu http://eCatalogue.art.yale.edu From trashbin1954 at yahoo.com Fri Oct 17 13:32:33 2008 From: trashbin1954 at yahoo.com (Patrick) Date: Fri, 17 Oct 2008 13:32:33 -0700 (PDT) Subject: [MCN-L] NY Botanical Garden- exciting opportunity for LAMP/XML developer! Message-ID: <556139.41520.qm@web36208.mail.mud.yahoo.com> We're a premier scientific/cultural/educational institution in NYC with a growing portfolio of exciting technology initiatives, looking to build an innovative development team. Application instructions can be found at http://www.nybg.org/footer/employment_listings.php Under the technical direction of the IS Development & Integration Manager the Programmer/Analyst will participate in developing, integrating, implementing and administering a range of custom-built and packaged information systems used by The New York Botanical Garden. She/He will work as part of a team to develop and support systems to serve NYBG?s proprietary business and information systems. Code and test applications using a variety of technologies and environments including but not limited to: LAMP, XML, XHTML, Delphi, JavaScript, post-Relational, SQL, and web services. Participate in system analysis and planning activities. He/She will perform other relevant duties as assigned. * Bachelor?s Degree or equivalent relevant experience in an information technology development related field. * At least 5 years relevant experience in software or system development, at least 3 years of this experience specific to SQL-driven web enabled processes. * Knowledge of business systems operations and support (such as Retail, Financial, CRM, E-commerce, etc.). * Demonstrated ability to quickly learn and apply specifics of new business systems. * Knowledge and experience in application and database administration and support. * Demonstrated ability to do advanced script and query modification and development using XML, PHP, Delphi, JavaScript, XHTML, Post-relational, SQL, and similar environments. * Highly developed support manner, patience, resourcefulness, reliability, and a commitment to excellence. Salary commensurate with experience. Excellent Benefits, including 4 weeks vacation. Apply at http://www.nybg.org/footer/employment_listings.php __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com From rcherry at skirball.org Fri Oct 17 13:41:50 2008 From: rcherry at skirball.org (Cherry, Rich) Date: Fri, 17 Oct 2008 13:41:50 -0700 Subject: [MCN-L] Request for feedback on internal operations In-Reply-To: <7102B05B2681214E829B6EDBB00B2FC32D10A43BCD@XVS2-CLUSTER.yu.yale.edu> References: <7102B05B2681214E829B6EDBB00B2FC32D10A43BCD@XVS2-CLUSTER.yu.yale.edu> Message-ID: <2A6CDDE8F1CB5D428E7CA6014794A58201754F27@scc-mail.skirball.org> Scheduling: Delphi from http://www.newmarketinc.com/ (we have an extensive hospitality business) Calendaring: Custom app built in Joomla Project Management: MS Project Ticketing/Helpdesk: Tracki-IT Inventory:Track-IT -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Raich, Thomas Sent: Friday, October 17, 2008 12:54 PM To: mcn-l at mcn.edu Subject: [MCN-L] Request for feedback on internal operations Dear colleagues, I am writing to learn what the museum and collections community is using for a variety of services I outline below. I am looking to improve these services within our Gallery in a centralized fashion to minimize support efforts and to maximize the ability to reuse the data. Most of the services I describe are for internal operations. * Scheduling How does your institution track project milestones, events, room reservations, exhibition planning (e.g. out to three years). This is an internal communication device, compared to Calendaring, which is meant for the public. * Calendaring I differentiate from Scheduling by recognizing Calendaring is for publishing events, activities, lectures, &tc. to the outside community (whether through Internet, website, RSS, kiosks, email, &tc.) (Note: one or more of the other services could feed this.) * Project Management Software to develop scope, track milestones, manage dependencies across multiple projects and work with resources to ensure sufficient effort on task. In general I am thinking of simple PM software to help with basics. * Ticketing/Helpdesk In the IT world a ticket would generate a request for assistance; further this would also allow a photography request through a customized form, initiate the procedure for request of an art object. * Inventory What are you using to track items - such as computers and audio video equipment, specialized exhibition equipment (audio-video), and - not just IT related items - also framing and packing supplies throughout your institution. I am interested in an umbrella solution; where a unified login would be possible, data interchange between the services and a user would have access to a personal dashboard (different for a photographer, an exhibition installer or an IT person.) I am deeply interested in what people are using for each service listed, and especially if anyone has more than one service covered by a single company/application. Further, if you are interested in the same problem, again let me know as we could seek various methods to brainstorm, project and development sharing and exploration. Please reply to me, and I will summarize for the list. Best, Thomas Thomas R. Raich Information Technology Group Yale University Art Gallery o: 203.432.6589 f: 203.432.9260 thomas.raich at yale.edu http://artgallery.yale.edu http://eCatalogue.art.yale.edu _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From lesliej at loc.gov Fri Oct 17 20:14:03 2008 From: lesliej at loc.gov (Leslie Johnston) Date: Fri, 17 Oct 2008 23:14:03 -0400 Subject: [MCN-L] digital media migration Message-ID: <48F91C3C020000E400022AE4@ntgwgate.loc.gov> All, I'd be interested in hearing from anyone who has recently taken on a media migration project, e.g., retrieving legacy digitization output files from data CDs and DVDs, external hard drives, etc., for transfer to live disk and/or tape. I'm particularly interested in what sort of transfer stations other institutions have built for this purpose. I do not yet have an exhaustive inventory of what media we might be working with, but we suspect it's predominantly CDs burned over a 15 year period. The formats are primarily image files, although there are of course audio, video, PDF, and text files as well. Leslie ---------- Leslie Johnston Digital Media Project Coordinator Office of Strategic Initiatives Library of Congress 202-707-2801 lesliej at loc.gov From akeshet at imj.org.il Sun Oct 19 09:57:37 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Sun, 19 Oct 2008 18:57:37 +0200 Subject: [MCN-L] IP SIG: Harry Potter and the Question of Fair Use Message-ID: <149FDECF7500014B85D070C43C708BE703E64C4D@mail3.imj.org.il> via Peter Brantley: The Assoc. of Research Libraries and the American Library Assoc. have released a study by MCN 2008 speaker Jonathan Band that analyzes the decision in the recent Harry Potter copyright case: ?How Fair Use Prevailed in the Harry Potter Case.? http://www.arl.org/news/pr/harry-potter-13oct08.shtml "Band draws three broad lessons from Judge Patterson?s decision. First, fair use is alive and well?expression can be incorporated into transformative works, as long as the expression is reasonably necessary for achieving the transformative purpose. Second, the courts champion fair use, in contrast to historic and recent proposed legislation that continues to encroach on fair use and the public domain. Third, fair use is best defended when those being sued have the resources to take on plaintiffs with deep pockets backed by big industry. The [Harry Potter] Lexicon?s publisher was fortunate to have support from the Fair Use Project of Stanford Law School?s Center for Internet and Society. Band notes that such public interest ?law firms? play a critical role in leveling the copyright-litigation playing field." Link to the paper in .pdf format http://www.arl.org/bm~doc/harrypotterrev2.pdf Amalyah Keshet Chair, MCN IP SIG From akeshet at imj.org.il Sun Oct 19 13:40:47 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Sun, 19 Oct 2008 22:40:47 +0200 Subject: [MCN-L] IP SIG: michael geist at berkeley Message-ID: <149FDECF7500014B85D070C43C708BE703E64C58@mail3.imj.org.il> For those lucky enough to be in the Berkely area: -=-=-=-=- The UC Berkeley School of Information and the Institute of International Studies invite you to a special lecture with Michael Geist - "Digital Advocacy" Wednesday, October 22nd 4:00pm 202 South Hall, UC Berkeley University of Ottawa law professor and copyright expert Michael Geist discusses how Web 2.0 tools are being used as highly effective advocacy tools to influence governments, companies, and communities. Geist will focus on how he used Facebook and other social media to connect with tens of thousands of Canadians opposed to the government's anticipated copyright legislation, and helped convince federal officials to withdraw the proposed law. Hope to see you there, Matt -- Matt Fratus Associate Director of External Relations School of Information University of California, Berkeley From hany at u.library.arizona.edu Mon Oct 20 11:40:38 2008 From: hany at u.library.arizona.edu (Han, Yan) Date: Mon, 20 Oct 2008 11:40:38 -0700 Subject: [MCN-L] digital media migration References: <48F91C3C020000E400022AE4@ntgwgate.loc.gov> Message-ID: <26C6B0CCB6892843849BE72624C9D12E014B6605@medusa.library.arizona.edu> I think it is much better to migrate to external hard drives (rather using CDs/DVDs) or massive storage. Depending on how much space you need, 1TB external hard disk costs less than $200. Rather than trusting the failure rate of massive storage (usually expensive), I would rather have multiple copies of data over cheap hard disks/servers. (Thinking about how Google built its clustered PC). Yan -----Original Message----- From: mcn-l-bounces at mcn.edu on behalf of Leslie Johnston Sent: Fri 10/17/2008 8:14 PM To: mcn-l at mcn.edu Subject: [MCN-L] digital media migration All, I'd be interested in hearing from anyone who has recently taken on a media migration project, e.g., retrieving legacy digitization output files from data CDs and DVDs, external hard drives, etc., for transfer to live disk and/or tape. I'm particularly interested in what sort of transfer stations other institutions have built for this purpose. I do not yet have an exhaustive inventory of what media we might be working with, but we suspect it's predominantly CDs burned over a 15 year period. The formats are primarily image files, although there are of course audio, video, PDF, and text files as well. Leslie ---------- Leslie Johnston Digital Media Project Coordinator Office of Strategic Initiatives Library of Congress 202-707-2801 lesliej at loc.gov _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From sweeting at frick.org Mon Oct 20 12:01:05 2008 From: sweeting at frick.org (Sweeting III, Floyd) Date: Mon, 20 Oct 2008 15:01:05 -0400 Subject: [MCN-L] Corporate Memory and Email Archiving Message-ID: <3C55506774456C4690AB556143F5434D032EA924@tfcmail.frick.org> I'm curious as to what solutions any of you have for email archiving and discovery and corporate memory in general? Floyd Sweeting III Head, Information Technology and New Media THE FRICK COLLECTION 1 East 70th Street New York, NY 10021 Tel: 212-547-6889 Fax: 212-879-2091 www.frick.org ***************************************************************************** The information transmitted is intended only for the person or entity to which it is addressed and may contain confidential and/or privileged material. Any review, retransmission, dissemination or other use of, or taking of any action in reliance upon, this information by persons or entities other than the intended recipient is prohibited. If you received this in error, please contact the sender and delete the material from any computer. ***************************************************************************** From Richard.Allen at SOS.STATE.NJ.US Mon Oct 20 13:04:13 2008 From: Richard.Allen at SOS.STATE.NJ.US (Richard Allen) Date: Mon, 20 Oct 2008 16:04:13 -0400 Subject: [MCN-L] Corporate Memory and Email Archiving In-Reply-To: <3C55506774456C4690AB556143F5434D032EA924@tfcmail.frick.org> References: <3C55506774456C4690AB556143F5434D032EA924@tfcmail.frick.org> Message-ID: <2073F923D9D6F54A931946741239ABED0204E3DF@kierkegaard.hogwarts.sos.state.nj.us> We haven't committed to a solution and we are still evaluating our options, since it may become part of an enterprise solution. We did a pilot/proof of concept with Microsoft using Microsoft Office SharePoint Server 2007 for records management and eDiscovery. The system was quite nice and met the DOD 5015.2 standard. Other vendors with good products are IBM/FileNet, EMC Documentum, CA and Symantec. -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Sweeting III, Floyd Sent: Monday, October 20, 2008 3:01 PM To: Museum Computer Network Listserv Subject: [MCN-L] Corporate Memory and Email Archiving I'm curious as to what solutions any of you have for email archiving and discovery and corporate memory in general? Floyd Sweeting III Head, Information Technology and New Media THE FRICK COLLECTION 1 East 70th Street New York, NY 10021 Tel: 212-547-6889 Fax: 212-879-2091 www.frick.org ************************************************************************ ***** The information transmitted is intended only for the person or entity to which it is addressed and may contain confidential and/or privileged material. Any review, retransmission, dissemination or other use of, or taking of any action in reliance upon, this information by persons or entities other than the intended recipient is prohibited. If you received this in error, please contact the sender and delete the material from any computer. ************************************************************************ ***** _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From Koven.Smith at metmuseum.org Mon Oct 20 13:18:34 2008 From: Koven.Smith at metmuseum.org (Smith, Koven) Date: Mon, 20 Oct 2008 16:18:34 -0400 Subject: [MCN-L] Macbeth Gallery digital collection launched by the Thomas J. Watson Library and the Frick Art Reference Library Message-ID: <28FD664987125B47BE7F43488685EDC714041664@E2KVS2.metmuseum.org> > Sending this out on behalf of Daniel Lipcan from the Watson Library at > the Met. Please contact him directly (daniel.lipcan at metmuseum.org) > with any questions. > > Koven > > --------------------------------------------------- > Please excuse cross-posting. > > # # # # # > > Macbeth Gallery digital collection launched by the Thomas J. Watson > Library and the Frick Art Reference Library. > > A collaborative project to digitize the exhibition checklists and > pamphlets of the Macbeth Gallery, held by the Thomas J. Watson Library > at The Metropolitan Museum of Art and the Frick Art Reference Library, > has just been completed. The combined collection, numbering over 450 > unique items published between 1895 and 1953, was digitized by > Northern Micrographics in La Crosse, Wisconsin. PDF files of the > catalogs are now available for download to researchers worldwide > through the Watson Library online catalog, WATSONLINE, and through > FRESCO (Frick Research Catalog Online). > > The Macbeth Gallery was the first New York gallery to specialize in > American art and is historically important for exhibiting work by many > American artists well-known to us today, including Winslow Homer, > Charles H. Davis, and Andrew Wyeth. In addition to solo exhibitions, > many group shows were held at the Macbeth Gallery in the early 20th > century-- several would have a profound impact on the development and > appreciation of American art. > > Consequently, the Macbeth Gallery materials have been frequently used > at Watson Library and the Frick, but they are also rapidly > deteriorating. It made sense from both service and preservation > perspectives to move forward with the project before the checklists > became damaged beyond repair. As a result, and beyond increased > accessibility and preservation, a major benefit to both libraries is > that each collection has been enriched with unique items from the > other. The project provides a more complete picture of Macbeth > Gallery exhibition activity and complements the Archives of American > Art's effort to catalog their collection of Macbeth Gallery records > and papers. > > You may browse a title list of the Macbeth Gallery digital collection > in WATSONLINE by following this link: > http://library.metmuseum.org/search~S26/tmacbeth+gallery > > Records for the collection in FRESCO may be viewed through this link: > http://fresco.frick.org/search/Xmacbeth+gallery+digital+project&SORT=A > X > > You may follow this link to the Archives of American Art finding aid > for the Macbeth Gallery records: > http://www.aaa.si.edu/collections/findingaids/macbgall.htm > > MARC records for the set are available upon request; please contact > Dan Lipcan at the Thomas J. Watson Library: > daniel.lipcan at metmuseum.org > > > Funding for this project was provided by the Lifchez-Stronach > Preservation Fund for the Thomas J. Watson Library, The Metropolitan > Museum of Art. > > > For more information, contact: > > Dan Lipcan > Assistant Manager for Systems and Special Projects Thomas J. Watson > Library The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY > 10028 > 212-650-2982 > daniel.lipcan at metmuseum.org > > Deborah Kempe > Chief, Collections Management & Access > Frick Art Reference Library > 10 East 71st Street > New York, NY 10021 > tel. 212.547-0658 ; fax 212 547-0680 > kempe at frick.org > > > # # # # # From SchmitzfuhrigL at si.edu Mon Oct 20 13:26:54 2008 From: SchmitzfuhrigL at si.edu (Schmitz Fuhrig, Lynda) Date: Mon, 20 Oct 2008 16:26:54 -0400 Subject: [MCN-L] Corporate Memory and Email Archiving In-Reply-To: <3C55506774456C4690AB556143F5434D032EA924@tfcmail.frick.org> References: <3C55506774456C4690AB556143F5434D032EA924@tfcmail.frick.org> Message-ID: <86E4DD54352CC94DA7B41F550E349F78F80DFC@SI-ECL03.US.SINET.SI.EDU> Floyd, See our website about our email archiving project (http://siarchives.si.edu/cerp) with the Rockefeller Archive Center. Please feel free to contact me if you have questions. Best wishes, Lynda Lynda Schmitz Fuhrig Project Archivist Electronic Records Program Smithsonian Institution Archives Capital Gallery Building 600 Maryland Ave SW Suite 3000 MRC 507 Washington, DC 20024-2520 -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Sweeting III, Floyd Sent: Monday, October 20, 2008 3:01 PM To: Museum Computer Network Listserv Subject: [MCN-L] Corporate Memory and Email Archiving I'm curious as to what solutions any of you have for email archiving and discovery and corporate memory in general? From SSmith at getty.edu Mon Oct 20 14:44:43 2008 From: SSmith at getty.edu (Stanley Smith) Date: Mon, 20 Oct 2008 14:44:43 -0700 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: References: Message-ID: <48FC995B.0319.00B6.0@getty.edu> A couple of comments regarding the use of grayscale and color bars: ? due to differences between dyes and/or pigments used to make the color bars and the materials used to produce the actual artwork, accurately rendering the grayscales in a particular image may NOT produce the most accurate rendition of the artwork itself. ? If there is some visual editing to tweak color into place (hopefully under calibrated viewing conditions with direct comparisons to the original artwork), then another operator who may be printing the image later will most likely UNDO those edits if they assume that the image is rendered correctly by printing a neutral grayscale. ? There is some interest in the production of "virtual" grayscales and color bars. These would be digitally dropped into the edited and color corrected image with the same colorspace as the original image. Then other users would achieve better color when they match the grayscale and color bars. ? If it is your decision to incorporate grayscales and color bars, then it is really not good practice to only do it once for a "batch". It is too difficult to mate up the correct grayscales with subsequent images-- especially years hence. Put them in every image. Stanley Smith Manager, Imaging Services J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Los Angeles, CA 90049-1687 (310) 440-7286 >>> 10/15/2008 12:00 PM >>> Send mcn-l mailing list submissions to mcn-l at mcn.edu To subscribe or unsubscribe via the World Wide Web, visit http://toronto.mediatrope.com/mailman/listinfo/mcn-l or, via email, send a message with subject or body 'help' to mcn-l-request at mcn.edu You can reach the person managing the list at mcn-l-owner at mcn.edu When replying, please edit your Subject line so it is more specific than "Re: Contents of mcn-l digest..." Today's Topics: 1. photography, digitization, and a color/grey card? (Jansonius, Remko (Vizcaya)) 2. Re: photography, digitization, and a color/grey card? (Frank E. Thomson) 3. Re: photography, digitization, and a color/grey card? (Tim Atherton) 4. Re: photography, digitization, and a color/grey card? (Nilsen, Dianne) 5. IP SIG: No fair use for thumbnails in Germany (akeshet at imj.org.il) 6. IP SIG: McCain-Palin, DMCA, YouTube, and Fair Use (akeshet at imj.org.il) 7. Re: photography, digitization, and a color/grey card? (Genevieve De mahy) 8. Digitization - definition and strategic planning (Diane M. Zorich) 9. free ftp software? (Jansonius, Remko (Vizcaya)) 10. Re: free ftp software? (Edwards, Chris) 11. Re: free ftp software? (Daniel M. Bartolini) 12. Re: free ftp software? (Elizabeth Bruton) 13. Re: free ftp software? (Tracy Davenport) 14. Re: free ftp software? (Melissa Johnson) 15. The Museum System on Mac via VMWare Fusion (Jeff Evans) 16. Re: free ftp software? (Perian Sully) ---------------------------------------------------------------------- Message: 1 Date: Tue, 14 Oct 2008 17:04:21 -0400 From: "Jansonius, Remko (Vizcaya)" Subject: [MCN-L] photography, digitization, and a color/grey card? To: Message-ID: <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3 at s0141136.miamidade.gov> Content-Type: text/plain;charset="us-ascii" Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL ------------------------------ Message: 2 Date: Tue, 14 Oct 2008 17:06:12 -0400 From: "Frank E. Thomson" Subject: Re: [MCN-L] photography, digitization, and a color/grey card? To: Museum Computer Network Listserv Message-ID: <6905D9194DC5B6489FA18E7E0763D9740701097682 at server4.ashart.local> Content-Type: text/plain; charset="us-ascii" I would suggest shooting an image of the color bar at the start of each session, maybe not in every image. But it would be helpful later trying to match color and value. Frank Thomson, Curator Asheville Art Museum PO Box 1717 Asheville, NC 28802 828.253.3227 tel 828257.4503 fax www.ashevilleart.org -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Tuesday, October 14, 2008 5:04 PM To: mcn-l at mcn.edu Subject: [MCN-L] photography, digitization, and a color/grey card? Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ Message: 3 Date: Tue, 14 Oct 2008 16:38:54 -0600 From: Tim Atherton Subject: Re: [MCN-L] photography, digitization, and a color/grey card? To: Museum Computer Network Listserv Message-ID: Content-Type: text/plain;charset="ISO-8859-1" And don't bother with the Kodak cards - get the Gretag Macbeth ones instead. (they usefully come in a couple of sizes as well). (especially, don't rely on old colour charts you may have around from the days when you had a photographer 7 or 8 years ago. They fade over time and the colours also fade differentially) http://xrite.gretagmacbethstore.com/index.cfm?act=catalog.cfm&menugroup=__me nu+usa+new tim a -- Tim Atherton Assistant Curator (Archives & Research) Mus?e H?ritage Museum, St. Albert (780) 459-1594 tatherton at st-albert.net On 10/14/08 3:06 PM, "Frank E. Thomson" wrote: > I would suggest shooting an image of the color bar at the start of each > session, maybe not in every image. But it would be helpful later trying to > match color and value. > > Frank Thomson, Curator > > Asheville Art Museum > > PO Box 1717 > > Asheville, NC 28802 > > 828.253.3227 tel > > 828257.4503 fax > > www.ashevilleart.org > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Jansonius, Remko (Vizcaya) > Sent: Tuesday, October 14, 2008 5:04 PM > To: mcn-l at mcn.edu > Subject: [MCN-L] photography, digitization, and a color/grey card? > > Dear Colleagues, > > > > We are about to digitize a collection of photo albums containing > 1910s/20s photographs; while they are black and white, many have > discolored and turned sepia over the years. Since these are fragile, > bound volumes we will be doing this through photography rather than > scanning. Would you say it is necessary or advisable or standard > practice to use a color card or a grey card during this process? > > > > As always, I greatly appreciate y'all's input! > > > > Sincerely, > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l -- Tim Atherton Assistant Curator Mus?e H?ritage Museum, St. Albert (780) 459-1594 tatherton at st-albert.net ------------------------------ Message: 4 Date: Tue, 14 Oct 2008 16:22:45 -0700 From: "Nilsen, Dianne" Subject: Re: [MCN-L] photography, digitization, and a color/grey card? To: "Museum Computer Network Listserv" Message-ID: <26C6B0CCB6892843849BE72624C9D12E0436C85A at medusa.library.arizona.edu> Content-Type: text/plain;charset="iso-8859-1" At the Center for Creative Photography, University of Arizona, our imaging department places a Kodak color bar and grayscale within every scan. We replace the targets every 6 months or so and keep them in their enclosures within light tight drawers to minimize fading. Just yesterday, one of my interns from the art department questioned the quality of one of our scans of a Robert Heinecken photograph. I pointed out to her that because the artist was experimental in his approach, the images did not always look like one would expect a full toned black and white photograph to look. The clue was in the appearance of the targets and the tonal percentages we measure within them. The National Archives and Records Administration guidelines below are particularly useful as they suggest specific values to aim for in the black, white and middle gray of the Kodak targets. The NARA target recommendations are very closely aligned with recommendations we have garnered from pre-press digital professionals for creating publication quality scans. See pages 35 and 36 in the guidelines below for handy illustrations. http://www.archives.gov/preservation/technical/guidelines.html Based on Tim Atherton's comments, I wish a similar guide would be published that references the Greytag MacBeth targets. Kodak targets are getting hard to find. If anyone has seen a publication comparable to the NARA guidelines that reference the MacBeth targets I would be interested in learning about it. Best, Dianne ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? Dianne Nilsen Head of Digital Initiatives and Imaging Center for Creative Photography The University of Arizona P.O. Box 210103 Tucson, AZ? 85721-0103 ? p. 520-307-2829 f. 520-621-9444 http://www.creativephotography.org -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Tim Atherton Sent: Tuesday, October 14, 2008 3:39 PM To: Museum Computer Network Listserv Subject: Re: [MCN-L] photography, digitization, and a color/grey card? And don't bother with the Kodak cards - get the Gretag Macbeth ones instead. (they usefully come in a couple of sizes as well). (especially, don't rely on old colour charts you may have around from the days when you had a photographer 7 or 8 years ago. They fade over time and the colours also fade differentially) http://xrite.gretagmacbethstore.com/index.cfm?act=catalog.cfm&menugroup=__me nu+usa+new tim a -- Tim Atherton Assistant Curator (Archives & Research) Mus?e H?ritage Museum, St. Albert (780) 459-1594 tatherton at st-albert.net On 10/14/08 3:06 PM, "Frank E. Thomson" wrote: > I would suggest shooting an image of the color bar at the start of each > session, maybe not in every image. But it would be helpful later trying to > match color and value. > > Frank Thomson, Curator > > Asheville Art Museum > > PO Box 1717 > > Asheville, NC 28802 > > 828.253.3227 tel > > 828257.4503 fax > > www.ashevilleart.org > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Jansonius, Remko (Vizcaya) > Sent: Tuesday, October 14, 2008 5:04 PM > To: mcn-l at mcn.edu > Subject: [MCN-L] photography, digitization, and a color/grey card? > > Dear Colleagues, > > > > We are about to digitize a collection of photo albums containing > 1910s/20s photographs; while they are black and white, many have > discolored and turned sepia over the years. Since these are fragile, > bound volumes we will be doing this through photography rather than > scanning. Would you say it is necessary or advisable or standard > practice to use a color card or a grey card during this process? > > > > As always, I greatly appreciate y'all's input! > > > > Sincerely, > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l -- Tim Atherton Assistant Curator Mus?e H?ritage Museum, St. Albert (780) 459-1594 tatherton at st-albert.net _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ Message: 5 Date: Wed, 15 Oct 2008 10:18:43 +0200 From: Subject: [MCN-L] IP SIG: No fair use for thumbnails in Germany To: Message-ID: <149FDECF7500014B85D070C43C708BE703E64C38 at mail3.imj.org.il> Content-Type: text/plain;charset="windows-1255" "As much as people complain about the challenges of balancing copyrights and fair use in the US, overseas courts have been happy to provide examples that remind us that some aspects of US copyright law are actually fairly liberal. The latest such reminder comes courtesy of a case in Germany that revisits an issue that appears settled in the US: the right of image search services to create thumbnails from copyrighted works to display with the search results. The German courts have now determined that this is not OK in Germany, where Google has just lost two copyright suits over image thumbnails..." http://arstechnica.com/news.ars/post/20081013-german-court-google-image-thumbnails-infringe-on-copyright.html Just for reference, re: US law: Google v. Perfect 10: Appeals court affirms that thumbnails are fair use http://arstechnica.com/news.ars/post/20070517-google-v-perfect-10-appeals-court-affirms-that-thumbnails-are-fair-use.html Amalyah Keshet Chair, MCN IP SIG ------------------------------ Message: 6 Date: Wed, 15 Oct 2008 11:03:35 +0200 From: Subject: [MCN-L] IP SIG: McCain-Palin, DMCA, YouTube, and Fair Use To: Message-ID: <149FDECF7500014B85D070C43C708BE703E64C3D at mail3.imj.org.il> Content-Type: text/plain;charset="windows-1255" Speaking of fair use: ________________________________ For any who have not seen this story: "McCain Campaign Feels DMCA Sting Legal Analysis by Fred von Lohmann Yesterday, the McCain-Palin campaign sent a letter to YouTube describing the troubles it has been having with bogus DMCA takedowns targeting its videos: [O]verreaching copyright claims have resulted in the removal of non- infringing campaign videos from YouTube, thus silencing political speech. Numerous times during the course of the campaign, our advertisements or web videos have been the subject of DMCA takedown notices regarding uses that are clearly privileged under the fair use doctrine. The uses at issue have been the inclusion of fewer than ten seconds of footage from news broadcasts in campaign ads or videos, as a basis for commentary on the issues presented in the news reports, or on the reports themselves. These are paradigmatic examples of fair use... It's heartening to see a presidential campaign recognize the importance of fair use and "remix culture" (the Obama-Biden campaign has also been the victim of frivolous takedowns from big media companies, so this is a bipartisan problem). EFF, the ACLU, Harvard's Citizen's Media Law Project, and Stanford's Fair Use Project have been making the same point for several years now. EFF has also been providing direct legal assistance to victims of DMCA abuse. Unfortunately, the solution proposed by the McCain campaign addresses only the tip of the iceberg: [W]e believe that it would consume few resources--and provide enormous benefit--for YouTube to commit to a full legal review of all takedown notices on videos posted from accounts controlled by (at least) political candidates and campaigns. The obvious problem with this solution? It assumes that YouTube should prioritize the campaigns' fair use rights, rather than those of the rest of us. That seems precisely backwards, since the most exciting new possibilities on YouTube are for amateur political expression by the voters themselves. After all, the campaigns have no trouble getting the same ads out on television and radio, options not available to most YouTubers. Let's start by identifying the real villains here: the major news media outlets. They are the ones censoring these political ads, based on the use of a few seconds of their footage. The networks need to back off and give fair use a wide berth. So let's start by shaming the bad guys here. In addition, lawsuits might help. Under the DMCA, both the campaigns themselves and YouTube have standing to sue those who send clearly bogus takedown notices. (EFF has represented video creators in a number of these cases, including against Viacom.) There are other possible solutions, as well. Stay tuned for our specific ideas on what YouTube can do to protect fair use while staying within the bounds of its DMCA safe harbor protection (hint: as the McCain-Palin letter points out, you don't need a safe harbor if the video isn't infringing, something that human review by YouTube should be able to determine). UPDATE: The McCain-Palin campaign has identified the news outlets behind the YouTube removals: CBS, Fox News, and the Christian Broadcasting Network. We noted above that NBC has targeted an Obama- Biden video for removal. That's four news entities that should know better." _______________________________________________ ------------------------------ Message: 7 Date: Wed, 15 Oct 2008 09:47:30 -0400 From: "Genevieve De mahy" Subject: Re: [MCN-L] photography, digitization, and a color/grey card? To: "Museum Computer Network Listserv" Message-ID: <7AFD6DC5E35B8A418D74129B8FD50D09020E63A3 at MAIL-VIRTUAL-SR.civilisations.ca> Content-Type: text/plain;charset="us-ascii" Dear Remko, As Dianne mentioned, the color bars are extremely important parts of digitizing a collection, particularly when you are dealing with older photographs that may vary in condition. The CWM recently digitized over 6,800 official photographs from the First World War, most of which had been stuck in albums for decades. The decision was made to remove them from the deteriorating condition of the albums themselves, and we were left with every kind of problem from color fade to cracking. We went ahead with careful scanning nonetheless and always used a color bar in that process. Even though this initiative was funded in support of our latest online project, the now digital photos selected from this collection for use in the module were then cropped to remove the color bar for the shows version of the captured image. I insisted on ensuring the primary archival function of the artifact was prominent over the one-time "show" requirement, regardless of the extra resources required to accomplish it, and it has served us well. Not only is the show a great success, showing 261 of the beautiful images, but our Image Reproduction Services reports requests for other images from the collection, and because they have the Master digital to work with, color bar and all, they can accommodate the broadest range of requests without having to manipulate the original, fragile, image again. My suggestion would be not to short change yourself on future use, take the time now to ensure it is done for years to come. Regards, Genevieve -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Tuesday, October 14, 2008 5:04 PM To: mcn-l at mcn.edu Subject: [MCN-L] photography, digitization, and a color/grey card? Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ Message: 8 Date: Wed, 15 Oct 2008 10:13:16 -0400 From: "Diane M. Zorich" Subject: [MCN-L] Digitization - definition and strategic planning To: mcn-l at toronto.mediatrope.com Message-ID: Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dear Colleagues, Two requests in this message: First, the Smithsonian Institution is undertaking a pan-institutional strategic planning process for digitization and one of the interesting things to arise during the investigative phase is the varying perceptions of what constitutes "digitization". Unfortunately, following Justice Potter Stewart's famous adage "I know it when I see it" isn't good enough here. The planning committee needs to articulate a clear definition. To this end, we'd like to know "How does your institution define digitization? Second, does your institution have a strategic plan for digitization that it would share with the committee? We are not looking for IT plans, but plans that outline how an institution has chosen to identify what it will digitize, how it will digitize the chosen materials, and how it will make these digital assets accessible.] Many thanks. Diane Zorich (On behalf of the Smithsonian Digitization Strategic Planning Committee) -- Diane M. Zorich 113 Gallup Road Princeton, NJ 08542 USA Voice: 609-252-1606 Fax: 609-252-1607 Email: dzorich at mindspring.com or dianezorich at comcast.net ------------------------------ Message: 9 Date: Wed, 15 Oct 2008 10:39:58 -0400 From: "Jansonius, Remko (Vizcaya)" Subject: [MCN-L] free ftp software? To: Message-ID: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A at s0141136.miamidade.gov> Content-Type: text/plain;charset="us-ascii" Dear Colleagues, When googling "free ftp software" several types of software show up. Is there any one in particular that you would recommend or un-recommend? Thank you, once gain, for your input! Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL ------------------------------ Message: 10 Date: Wed, 15 Oct 2008 10:42:57 -0400 From: "Edwards, Chris" Subject: Re: [MCN-L] free ftp software? To: Museum Computer Network Listserv Message-ID: <254B49773DA57546A3AB884EDCF8D3F626A0C45EB4 at XVS3-CLUSTER.yu.yale.edu> Content-Type: text/plain; charset="us-ascii" Fetch FTP for mac is good and they have a free institutional license -- Chris Edwards Digital Studio Production Manager Beinecke Rare Book and Manuscript Library Yale University Tel: 203.436.4690 chris.edwards at yale.edu ________________________________________ From: mcn-l-bounces at mcn.edu [mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) [remko.jansonius at vizcayamuseum.org] Sent: Wednesday, October 15, 2008 10:39 AM To: mcn-l at mcn.edu Subject: [MCN-L] free ftp software? Dear Colleagues, When googling "free ftp software" several types of software show up. Is there any one in particular that you would recommend or un-recommend? Thank you, once gain, for your input! Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ Message: 11 Date: Wed, 15 Oct 2008 10:47:49 -0400 From: "Daniel M. Bartolini" Subject: Re: [MCN-L] free ftp software? To: Museum Computer Network Listserv Message-ID: <48F60295.5040505 at nyscience.org> Content-Type: text/plain; charset="iso-8859-1" Mac: Cyberduck rocks. Windows: WinSCP Linux: they're all free Edwards, Chris wrote: > Fetch FTP for mac is good and they have a free institutional license > -- > Chris Edwards > Digital Studio Production Manager > Beinecke Rare Book and Manuscript Library > Yale University > Tel: 203.436.4690 > chris.edwards at yale.edu > > ________________________________________ > From: mcn-l-bounces at mcn.edu [mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) [remko.jansonius at vizcayamuseum.org] > Sent: Wednesday, October 15, 2008 10:39 AM > To: mcn-l at mcn.edu > Subject: [MCN-L] free ftp software? > > Dear Colleagues, > > > > When googling "free ftp software" several types of software show up. > > Is there any one in particular that you would recommend or un-recommend? > > > > Thank you, once gain, for your input! > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > ------------------------------ Message: 12 Date: Wed, 15 Oct 2008 15:58:54 +0100 From: Elizabeth Bruton Subject: Re: [MCN-L] free ftp software? To: Museum Computer Network Listserv Message-ID: <20081015145854.2687816798 at webmail218.herald.ox.ac.uk> Content-Type: text/plain I'd recommend WinSCP or Filezilla, both are free, open source FTP clients. Filezilla Pros: Available for Windows, Mac, and Linux Cons: No synchronize feature; does not support SCP protocol WinSCP Pros: Has portable executable version; has synchronize feature; supports SCP protocol in addition to SFTP & FTP Cons: Only available for Windows Liz In message <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A at s0141136.miamidade.gov> Museum Computer Network Listserv writes: > Dear Colleagues, > > > > When googling "free ftp software" several types of software show up. > > Is there any one in particular that you would recommend or un-recommend? > > > > Thank you, once gain, for your input! > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l -- Ms Elizabeth Bruton Web Officer, Museum of the History of Science, Oxford e: elizabeth.bruton at mhs.ox.ac.uk w: http://www.mhs.ox.ac.uk ------------------------------ Message: 13 Date: Wed, 15 Oct 2008 11:21:33 -0400 From: Tracy Davenport Subject: Re: [MCN-L] free ftp software? To: Museum Computer Network Listserv Message-ID: <15150CBCC92A2E45B65B6CD7582A9747134A8E47DB at EVS-RED.coloflorida.com> Content-Type: text/plain; charset="us-ascii" Remko: It depends on what you are trying to accomplish. If you simply want to download or upload files from an existing source, then an FTP Client is what you want, and there are several good free ones. I use FileZilla and it is available for Windows, Mac, and Linux. Another Windows option is WS_FTP, and other Mac options are Fetch and CyberDuck. On the other hand, if you want to set up a file repository to make files available remotely to yourself or others, then you need a FTP Server, and there are also several good free ones. Again, FileZilla offers a good product, although it runs only on Windows. Other options for Mac or Linux are ProFTPd or PureFTPd. Best regards, Tracy Davenport Senior Consultant NPower Charlotte Region Charlotte, NC (704) 716-7767 ext. 231 tdavenport at npowercharlotteregion.org -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Wednesday, October 15, 2008 10:40 AM To: mcn-l at mcn.edu Subject: [MCN-L] free ftp software? Dear Colleagues, When googling "free ftp software" several types of software show up. Is there any one in particular that you would recommend or un-recommend? Thank you, once gain, for your input! Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ Message: 14 Date: Wed, 15 Oct 2008 08:44:01 -0700 From: "Melissa Johnson" Subject: Re: [MCN-L] free ftp software? To: "Museum Computer Network Listserv" Message-ID: <518A20175FE51D4B9EBBB9DB28F6E06E47634D at athene.historysanjose.org> Content-Type: text/plain;charset="iso-8859-1" I use Filezilla. It's pretty simple and, so far, has met all of my limited needs. --Melissa Melissa Johnson Curator of Interactive Media history|san jos? -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Wednesday, October 15, 2008 7:40 AM To: mcn-l at mcn.edu Subject: [MCN-L] free ftp software? Dear Colleagues, When googling "free ftp software" several types of software show up. Is there any one in particular that you would recommend or un-recommend? Thank you, once gain, for your input! Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ Message: 15 Date: Wed, 15 Oct 2008 11:59:56 -0400 From: Jeff Evans Subject: [MCN-L] The Museum System on Mac via VMWare Fusion To: Museum Computer Network Listserv Message-ID: Content-Type: text/plain;charset="ISO-8859-1" Hi ? Is anyone running TMS on an new Intel Mac via VMWare Fusion? Pros and cons? Likes and dislikes? JEFF Jeffrey Evans Digital Imaging Specialist Princeton University Art Museum 609.258.8579 ------------------------------ Message: 16 Date: Wed, 15 Oct 2008 10:18:44 -0700 From: "Perian Sully" Subject: Re: [MCN-L] free ftp software? To: "Museum Computer Network Listserv" Message-ID: Content-Type: text/plain;charset="US-ASCII" I use both of these myself. I am more comfortable with Filezilla and use it for more traditional FTP sites, but WinSCP's use of SCP means I end up using it for one other site I connect to on a regular basis (this site doesn't allow FTP or SFTP) Perian Sully Collections Information and Web Programs Manager Judah L. Magnes Museum -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Elizabeth Bruton Sent: Wednesday, October 15, 2008 7:59 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] free ftp software? I'd recommend WinSCP or Filezilla, both are free, open source FTP clients. Filezilla Pros: Available for Windows, Mac, and Linux Cons: No synchronize feature; does not support SCP protocol WinSCP Pros: Has portable executable version; has synchronize feature; supports SCP protocol in addition to SFTP & FTP Cons: Only available for Windows Liz > You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ _______________________________________________ mcn-l mailing list mcn-l at mcn.edu http://toronto.mediatrope.com/mailman/listinfo/mcn-l End of mcn-l Digest, Vol 37, Issue 10 ************************************* From MParadis at Gallery.ca Mon Oct 20 15:22:03 2008 From: MParadis at Gallery.ca (MParadis at Gallery.ca) Date: Mon, 20 Oct 2008 18:22:03 -0400 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: <7AFD6DC5E35B8A418D74129B8FD50D09020E63A3@MAIL-VIRTUAL-SR.civilisations.ca> References: <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3@s0141136.miamidade.gov> <7AFD6DC5E35B8A418D74129B8FD50D09020E63A3@MAIL-VIRTUAL-SR.civilisations.ca> Message-ID: <7EB3F7DBBD8F794C9976C9619F86D5580836B95E5E@MERCURY.NGC.MBAC> Hi All, This is my first posting since joining many years ago, but I'm an avid reader of the MCN. To that end I'd like to add my two cents worth to the discussion. Color bars and grey scales have been discussed since their invention. They have been a standard for so very long but do pose a few concerns for me. First point I do agree on is that the Greytag color checker is far superior to the Kodak medium. The non reflective nature of the Greytag checker helps eliminate flare thus providing more consistent results if you feel that color checkers are the solution for your operation. My objection to color bars when included at the capture/scanning stage is that any global changes made in image editing software will also extend to the color reference as well. Send the file to printing and the printers will correct the scale back to its know color and your original will share this bias. Knowing that the subject matter we all tend to deal with requires some degree of alteration at the capture phase we found we had to develop a new way of adding visual reference material that would be independent of the final edited image. Here's our thinking and solution which has been extremely successful for our collection of over 29,000 captures to date; First, calibration, calibration, calibration of all devices used in the reproduction process. This is now an old mantra to most image creators today but it cannot be stressed enough. We have a weekly regimen of systematic calibration of cameras and monitors to ensure consistency on these variables. Secondly, viewing conditions of originals. We undertook the conversion of our studio spaces to 5000K lighting in our fluorescent fixtures. We confirm these conditions with a color temperature meter monthly. This gives the photographer a reference environment to confirm color and contrast at the time of capture to the results visible on the calibrated monitor. This tends to be the one and only time this comparison can be made by a trained visual professional and is therefore critical to the final outcome. Once the image has been fined tuned by the photographer to best reflect the original we move on to the final piece of the reference puzzle. Third step, create your own unbiased reference scale. Yup, I said it, a homemade solution. Our approach was to create a digitally perfect reference grey scale in Photoshop. We created a 21 step, digitally created grey scale in Photoshop in .15 step increments just like the Kodak ones are supposed to be. Beginning at values of 0,0,0 for purest digital black on up to 255,255,255 for maximum white. With this technique each step of the scale is measurable and digitally accurate for today and evermore. Once an image capture is completed by the photographer (in their calibrated work environment), the digital scale is then added post-capture thus anchoring the original look to a perfect scale. Now when the printers make a neutral scale they are actually not affecting the final outcome of the photographer's rendition of the subject. We encourage them to use the scale without reservation for first run proofs. This system will also allow some insight into the ability of your printer in delivering a linear tone scale. If they can't deal with a neutral balance in the scale then a final publication will be a hit and miss project at the best of times. When scale proofs are measured from a linear reference it can be a beneficial tool in addressing the printers' possible areas of inconsistency either at the time of CMYK conversion or at the press. Because this technique has known values it puts to bed any debate of the scale's robustness or variability. The scale never changes! I hope this offers you another approach to this long standing issue. When the museum of color scales opens and the catalogue of scales is published, I'll go back to shooting them as subject and put away my computer. Until that time, the art rules! Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Genevieve De mahy Sent: Wednesday, October 15, 2008 9:48 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] photography, digitization, and a color/grey card? Dear Remko, As Dianne mentioned, the color bars are extremely important parts of digitizing a collection, particularly when you are dealing with older photographs that may vary in condition. The CWM recently digitized over 6,800 official photographs from the First World War, most of which had been stuck in albums for decades. The decision was made to remove them from the deteriorating condition of the albums themselves, and we were left with every kind of problem from color fade to cracking. We went ahead with careful scanning nonetheless and always used a color bar in that process. Even though this initiative was funded in support of our latest online project, the now digital photos selected from this collection for use in the module were then cropped to remove the color bar for the shows version of the captured image. I insisted on ensuring the primary archival function of the artifact was prominent over the one-time "show" requirement, regardless of the extra resources required to accomplish it, and it has served us well. Not only is the show a great success, showing 261 of the beautiful images, but our Image Reproduction Services reports requests for other images from the collection, and because they have the Master digital to work with, color bar and all, they can accommodate the broadest range of requests without having to manipulate the original, fragile, image again. My suggestion would be not to short change yourself on future use, take the time now to ensure it is done for years to come. Regards, Genevieve -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Tuesday, October 14, 2008 5:04 PM To: mcn-l at mcn.edu Subject: [MCN-L] photography, digitization, and a color/grey card? Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From sgthiel at ku.edu Mon Oct 20 19:15:43 2008 From: sgthiel at ku.edu (Thiel, Sarah Goodwin) Date: Mon, 20 Oct 2008 21:15:43 -0500 Subject: [MCN-L] photography, digitization, and a color/grey card? References: <48FC995B.0319.00B6.0@getty.edu> Message-ID: nicely put. -----Original Message----- From: mcn-l-bounces at mcn.edu on behalf of Stanley Smith Sent: Mon 10/20/2008 4:44 PM To: mcn-l at mcn.edu Subject: Re: [MCN-L] photography, digitization, and a color/grey card? A couple of comments regarding the use of grayscale and color bars: - due to differences between dyes and/or pigments used to make the color bars and the materials used to produce the actual artwork, accurately rendering the grayscales in a particular image may NOT produce the most accurate rendition of the artwork itself. - If there is some visual editing to tweak color into place (hopefully under calibrated viewing conditions with direct comparisons to the original artwork), then another operator who may be printing the image later will most likely UNDO those edits if they assume that the image is rendered correctly by printing a neutral grayscale. - There is some interest in the production of "virtual" grayscales and color bars. These would be digitally dropped into the edited and color corrected image with the same colorspace as the original image. Then other users would achieve better color when they match the grayscale and color bars. - If it is your decision to incorporate grayscales and color bars, then it is really not good practice to only do it once for a "batch". It is too difficult to mate up the correct grayscales with subsequent images-- especially years hence. Put them in every image. Stanley Smith Manager, Imaging Services J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Los Angeles, CA 90049-1687 (310) 440-7286 >>> 10/15/2008 12:00 PM >>> Send mcn-l mailing list submissions to mcn-l at mcn.edu To subscribe or unsubscribe via the World Wide Web, visit http://toronto.mediatrope.com/mailman/listinfo/mcn-l or, via email, send a message with subject or body 'help' to mcn-l-request at mcn.edu You can reach the person managing the list at mcn-l-owner at mcn.edu When replying, please edit your Subject line so it is more specific than "Re: Contents of mcn-l digest..." Today's Topics: 1. photography, digitization, and a color/grey card? (Jansonius, Remko (Vizcaya)) 2. Re: photography, digitization, and a color/grey card? (Frank E. Thomson) 3. Re: photography, digitization, and a color/grey card? (Tim Atherton) 4. Re: photography, digitization, and a color/grey card? (Nilsen, Dianne) 5. IP SIG: No fair use for thumbnails in Germany (akeshet at imj.org.il) 6. IP SIG: McCain-Palin, DMCA, YouTube, and Fair Use (akeshet at imj.org.il) 7. Re: photography, digitization, and a color/grey card? (Genevieve De mahy) 8. Digitization - definition and strategic planning (Diane M. Zorich) 9. free ftp software? (Jansonius, Remko (Vizcaya)) 10. Re: free ftp software? (Edwards, Chris) 11. Re: free ftp software? (Daniel M. Bartolini) 12. Re: free ftp software? (Elizabeth Bruton) 13. Re: free ftp software? (Tracy Davenport) 14. Re: free ftp software? (Melissa Johnson) 15. The Museum System on Mac via VMWare Fusion (Jeff Evans) 16. Re: free ftp software? (Perian Sully) ---------------------------------------------------------------------- Message: 1 Date: Tue, 14 Oct 2008 17:04:21 -0400 From: "Jansonius, Remko (Vizcaya)" Subject: [MCN-L] photography, digitization, and a color/grey card? To: Message-ID: <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3 at s0141136.miamidade.gov> Content-Type: text/plain;charset="us-ascii" Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL ------------------------------ Message: 2 Date: Tue, 14 Oct 2008 17:06:12 -0400 From: "Frank E. Thomson" Subject: Re: [MCN-L] photography, digitization, and a color/grey card? To: Museum Computer Network Listserv Message-ID: <6905D9194DC5B6489FA18E7E0763D9740701097682 at server4.ashart.local> Content-Type: text/plain; charset="us-ascii" I would suggest shooting an image of the color bar at the start of each session, maybe not in every image. But it would be helpful later trying to match color and value. Frank Thomson, Curator Asheville Art Museum PO Box 1717 Asheville, NC 28802 828.253.3227 tel 828257.4503 fax www.ashevilleart.org -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Tuesday, October 14, 2008 5:04 PM To: mcn-l at mcn.edu Subject: [MCN-L] photography, digitization, and a color/grey card? Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ Message: 3 Date: Tue, 14 Oct 2008 16:38:54 -0600 From: Tim Atherton Subject: Re: [MCN-L] photography, digitization, and a color/grey card? To: Museum Computer Network Listserv Message-ID: Content-Type: text/plain;charset="ISO-8859-1" And don't bother with the Kodak cards - get the Gretag Macbeth ones instead. (they usefully come in a couple of sizes as well). (especially, don't rely on old colour charts you may have around from the days when you had a photographer 7 or 8 years ago. They fade over time and the colours also fade differentially) http://xrite.gretagmacbethstore.com/index.cfm?act=catalog.cfm&menugroup=__me nu+usa+new tim a -- Tim Atherton Assistant Curator (Archives & Research) Mus?e H?ritage Museum, St. Albert (780) 459-1594 tatherton at st-albert.net On 10/14/08 3:06 PM, "Frank E. Thomson" wrote: > I would suggest shooting an image of the color bar at the start of each > session, maybe not in every image. But it would be helpful later trying to > match color and value. > > Frank Thomson, Curator > > Asheville Art Museum > > PO Box 1717 > > Asheville, NC 28802 > > 828.253.3227 tel > > 828257.4503 fax > > www.ashevilleart.org > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Jansonius, Remko (Vizcaya) > Sent: Tuesday, October 14, 2008 5:04 PM > To: mcn-l at mcn.edu > Subject: [MCN-L] photography, digitization, and a color/grey card? > > Dear Colleagues, > > > > We are about to digitize a collection of photo albums containing > 1910s/20s photographs; while they are black and white, many have > discolored and turned sepia over the years. Since these are fragile, > bound volumes we will be doing this through photography rather than > scanning. Would you say it is necessary or advisable or standard > practice to use a color card or a grey card during this process? > > > > As always, I greatly appreciate y'all's input! > > > > Sincerely, > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l -- Tim Atherton Assistant Curator Mus?e H?ritage Museum, St. Albert (780) 459-1594 tatherton at st-albert.net ------------------------------ Message: 4 Date: Tue, 14 Oct 2008 16:22:45 -0700 From: "Nilsen, Dianne" Subject: Re: [MCN-L] photography, digitization, and a color/grey card? To: "Museum Computer Network Listserv" Message-ID: <26C6B0CCB6892843849BE72624C9D12E0436C85A at medusa.library.arizona.edu> Content-Type: text/plain;charset="iso-8859-1" At the Center for Creative Photography, University of Arizona, our imaging department places a Kodak color bar and grayscale within every scan. We replace the targets every 6 months or so and keep them in their enclosures within light tight drawers to minimize fading. Just yesterday, one of my interns from the art department questioned the quality of one of our scans of a Robert Heinecken photograph. I pointed out to her that because the artist was experimental in his approach, the images did not always look like one would expect a full toned black and white photograph to look. The clue was in the appearance of the targets and the tonal percentages we measure within them. The National Archives and Records Administration guidelines below are particularly useful as they suggest specific values to aim for in the black, white and middle gray of the Kodak targets. The NARA target recommendations are very closely aligned with recommendations we have garnered from pre-press digital professionals for creating publication quality scans. See pages 35 and 36 in the guidelines below for handy illustrations. http://www.archives.gov/preservation/technical/guidelines.html Based on Tim Atherton's comments, I wish a similar guide would be published that references the Greytag MacBeth targets. Kodak targets are getting hard to find. If anyone has seen a publication comparable to the NARA guidelines that reference the MacBeth targets I would be interested in learning about it. Best, Dianne ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? Dianne Nilsen Head of Digital Initiatives and Imaging Center for Creative Photography The University of Arizona P.O. Box 210103 Tucson, AZ? 85721-0103 ? p. 520-307-2829 f. 520-621-9444 http://www.creativephotography.org -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Tim Atherton Sent: Tuesday, October 14, 2008 3:39 PM To: Museum Computer Network Listserv Subject: Re: [MCN-L] photography, digitization, and a color/grey card? And don't bother with the Kodak cards - get the Gretag Macbeth ones instead. (they usefully come in a couple of sizes as well). (especially, don't rely on old colour charts you may have around from the days when you had a photographer 7 or 8 years ago. They fade over time and the colours also fade differentially) http://xrite.gretagmacbethstore.com/index.cfm?act=catalog.cfm&menugroup=__me nu+usa+new tim a -- Tim Atherton Assistant Curator (Archives & Research) Mus?e H?ritage Museum, St. Albert (780) 459-1594 tatherton at st-albert.net On 10/14/08 3:06 PM, "Frank E. Thomson" wrote: > I would suggest shooting an image of the color bar at the start of each > session, maybe not in every image. But it would be helpful later trying to > match color and value. > > Frank Thomson, Curator > > Asheville Art Museum > > PO Box 1717 > > Asheville, NC 28802 > > 828.253.3227 tel > > 828257.4503 fax > > www.ashevilleart.org > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Jansonius, Remko (Vizcaya) > Sent: Tuesday, October 14, 2008 5:04 PM > To: mcn-l at mcn.edu > Subject: [MCN-L] photography, digitization, and a color/grey card? > > Dear Colleagues, > > > > We are about to digitize a collection of photo albums containing > 1910s/20s photographs; while they are black and white, many have > discolored and turned sepia over the years. Since these are fragile, > bound volumes we will be doing this through photography rather than > scanning. Would you say it is necessary or advisable or standard > practice to use a color card or a grey card during this process? > > > > As always, I greatly appreciate y'all's input! > > > > Sincerely, > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l -- Tim Atherton Assistant Curator Mus?e H?ritage Museum, St. Albert (780) 459-1594 tatherton at st-albert.net _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ Message: 5 Date: Wed, 15 Oct 2008 10:18:43 +0200 From: Subject: [MCN-L] IP SIG: No fair use for thumbnails in Germany To: Message-ID: <149FDECF7500014B85D070C43C708BE703E64C38 at mail3.imj.org.il> Content-Type: text/plain;charset="windows-1255" "As much as people complain about the challenges of balancing copyrights and fair use in the US, overseas courts have been happy to provide examples that remind us that some aspects of US copyright law are actually fairly liberal. The latest such reminder comes courtesy of a case in Germany that revisits an issue that appears settled in the US: the right of image search services to create thumbnails from copyrighted works to display with the search results. The German courts have now determined that this is not OK in Germany, where Google has just lost two copyright suits over image thumbnails..." http://arstechnica.com/news.ars/post/20081013-german-court-google-image-thumbnails-infringe-on-copyright.html Just for reference, re: US law: Google v. Perfect 10: Appeals court affirms that thumbnails are fair use http://arstechnica.com/news.ars/post/20070517-google-v-perfect-10-appeals-court-affirms-that-thumbnails-are-fair-use.html Amalyah Keshet Chair, MCN IP SIG ------------------------------ Message: 6 Date: Wed, 15 Oct 2008 11:03:35 +0200 From: Subject: [MCN-L] IP SIG: McCain-Palin, DMCA, YouTube, and Fair Use To: Message-ID: <149FDECF7500014B85D070C43C708BE703E64C3D at mail3.imj.org.il> Content-Type: text/plain;charset="windows-1255" Speaking of fair use: ________________________________ For any who have not seen this story: "McCain Campaign Feels DMCA Sting Legal Analysis by Fred von Lohmann Yesterday, the McCain-Palin campaign sent a letter to YouTube describing the troubles it has been having with bogus DMCA takedowns targeting its videos: [O]verreaching copyright claims have resulted in the removal of non- infringing campaign videos from YouTube, thus silencing political speech. Numerous times during the course of the campaign, our advertisements or web videos have been the subject of DMCA takedown notices regarding uses that are clearly privileged under the fair use doctrine. The uses at issue have been the inclusion of fewer than ten seconds of footage from news broadcasts in campaign ads or videos, as a basis for commentary on the issues presented in the news reports, or on the reports themselves. These are paradigmatic examples of fair use... It's heartening to see a presidential campaign recognize the importance of fair use and "remix culture" (the Obama-Biden campaign has also been the victim of frivolous takedowns from big media companies, so this is a bipartisan problem). EFF, the ACLU, Harvard's Citizen's Media Law Project, and Stanford's Fair Use Project have been making the same point for several years now. EFF has also been providing direct legal assistance to victims of DMCA abuse. Unfortunately, the solution proposed by the McCain campaign addresses only the tip of the iceberg: [W]e believe that it would consume few resources--and provide enormous benefit--for YouTube to commit to a full legal review of all takedown notices on videos posted from accounts controlled by (at least) political candidates and campaigns. The obvious problem with this solution? It assumes that YouTube should prioritize the campaigns' fair use rights, rather than those of the rest of us. That seems precisely backwards, since the most exciting new possibilities on YouTube are for amateur political expression by the voters themselves. After all, the campaigns have no trouble getting the same ads out on television and radio, options not available to most YouTubers. Let's start by identifying the real villains here: the major news media outlets. They are the ones censoring these political ads, based on the use of a few seconds of their footage. The networks need to back off and give fair use a wide berth. So let's start by shaming the bad guys here. In addition, lawsuits might help. Under the DMCA, both the campaigns themselves and YouTube have standing to sue those who send clearly bogus takedown notices. (EFF has represented video creators in a number of these cases, including against Viacom.) There are other possible solutions, as well. Stay tuned for our specific ideas on what YouTube can do to protect fair use while staying within the bounds of its DMCA safe harbor protection (hint: as the McCain-Palin letter points out, you don't need a safe harbor if the video isn't infringing, something that human review by YouTube should be able to determine). UPDATE: The McCain-Palin campaign has identified the news outlets behind the YouTube removals: CBS, Fox News, and the Christian Broadcasting Network. We noted above that NBC has targeted an Obama- Biden video for removal. That's four news entities that should know better." _______________________________________________ ------------------------------ Message: 7 Date: Wed, 15 Oct 2008 09:47:30 -0400 From: "Genevieve De mahy" Subject: Re: [MCN-L] photography, digitization, and a color/grey card? To: "Museum Computer Network Listserv" Message-ID: <7AFD6DC5E35B8A418D74129B8FD50D09020E63A3 at MAIL-VIRTUAL-SR.civilisations.ca> Content-Type: text/plain;charset="us-ascii" Dear Remko, As Dianne mentioned, the color bars are extremely important parts of digitizing a collection, particularly when you are dealing with older photographs that may vary in condition. The CWM recently digitized over 6,800 official photographs from the First World War, most of which had been stuck in albums for decades. The decision was made to remove them from the deteriorating condition of the albums themselves, and we were left with every kind of problem from color fade to cracking. We went ahead with careful scanning nonetheless and always used a color bar in that process. Even though this initiative was funded in support of our latest online project, the now digital photos selected from this collection for use in the module were then cropped to remove the color bar for the shows version of the captured image. I insisted on ensuring the primary archival function of the artifact was prominent over the one-time "show" requirement, regardless of the extra resources required to accomplish it, and it has served us well. Not only is the show a great success, showing 261 of the beautiful images, but our Image Reproduction Services reports requests for other images from the collection, and because they have the Master digital to work with, color bar and all, they can accommodate the broadest range of requests without having to manipulate the original, fragile, image again. My suggestion would be not to short change yourself on future use, take the time now to ensure it is done for years to come. Regards, Genevieve -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Tuesday, October 14, 2008 5:04 PM To: mcn-l at mcn.edu Subject: [MCN-L] photography, digitization, and a color/grey card? Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ Message: 8 Date: Wed, 15 Oct 2008 10:13:16 -0400 From: "Diane M. Zorich" Subject: [MCN-L] Digitization - definition and strategic planning To: mcn-l at toronto.mediatrope.com Message-ID: Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dear Colleagues, Two requests in this message: First, the Smithsonian Institution is undertaking a pan-institutional strategic planning process for digitization and one of the interesting things to arise during the investigative phase is the varying perceptions of what constitutes "digitization". Unfortunately, following Justice Potter Stewart's famous adage "I know it when I see it" isn't good enough here. The planning committee needs to articulate a clear definition. To this end, we'd like to know "How does your institution define digitization? Second, does your institution have a strategic plan for digitization that it would share with the committee? We are not looking for IT plans, but plans that outline how an institution has chosen to identify what it will digitize, how it will digitize the chosen materials, and how it will make these digital assets accessible.] Many thanks. Diane Zorich (On behalf of the Smithsonian Digitization Strategic Planning Committee) -- Diane M. Zorich 113 Gallup Road Princeton, NJ 08542 USA Voice: 609-252-1606 Fax: 609-252-1607 Email: dzorich at mindspring.com or dianezorich at comcast.net ------------------------------ Message: 9 Date: Wed, 15 Oct 2008 10:39:58 -0400 From: "Jansonius, Remko (Vizcaya)" Subject: [MCN-L] free ftp software? To: Message-ID: <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A at s0141136.miamidade.gov> Content-Type: text/plain;charset="us-ascii" Dear Colleagues, When googling "free ftp software" several types of software show up. Is there any one in particular that you would recommend or un-recommend? Thank you, once gain, for your input! Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL ------------------------------ Message: 10 Date: Wed, 15 Oct 2008 10:42:57 -0400 From: "Edwards, Chris" Subject: Re: [MCN-L] free ftp software? To: Museum Computer Network Listserv Message-ID: <254B49773DA57546A3AB884EDCF8D3F626A0C45EB4 at XVS3-CLUSTER.yu.yale.edu> Content-Type: text/plain; charset="us-ascii" Fetch FTP for mac is good and they have a free institutional license -- Chris Edwards Digital Studio Production Manager Beinecke Rare Book and Manuscript Library Yale University Tel: 203.436.4690 chris.edwards at yale.edu ________________________________________ From: mcn-l-bounces at mcn.edu [mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) [remko.jansonius at vizcayamuseum.org] Sent: Wednesday, October 15, 2008 10:39 AM To: mcn-l at mcn.edu Subject: [MCN-L] free ftp software? Dear Colleagues, When googling "free ftp software" several types of software show up. Is there any one in particular that you would recommend or un-recommend? Thank you, once gain, for your input! Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ Message: 11 Date: Wed, 15 Oct 2008 10:47:49 -0400 From: "Daniel M. Bartolini" Subject: Re: [MCN-L] free ftp software? To: Museum Computer Network Listserv Message-ID: <48F60295.5040505 at nyscience.org> Content-Type: text/plain; charset="iso-8859-1" Mac: Cyberduck rocks. Windows: WinSCP Linux: they're all free Edwards, Chris wrote: > Fetch FTP for mac is good and they have a free institutional license > -- > Chris Edwards > Digital Studio Production Manager > Beinecke Rare Book and Manuscript Library > Yale University > Tel: 203.436.4690 > chris.edwards at yale.edu > > ________________________________________ > From: mcn-l-bounces at mcn.edu [mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) [remko.jansonius at vizcayamuseum.org] > Sent: Wednesday, October 15, 2008 10:39 AM > To: mcn-l at mcn.edu > Subject: [MCN-L] free ftp software? > > Dear Colleagues, > > > > When googling "free ftp software" several types of software show up. > > Is there any one in particular that you would recommend or un-recommend? > > > > Thank you, once gain, for your input! > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > ------------------------------ Message: 12 Date: Wed, 15 Oct 2008 15:58:54 +0100 From: Elizabeth Bruton Subject: Re: [MCN-L] free ftp software? To: Museum Computer Network Listserv Message-ID: <20081015145854.2687816798 at webmail218.herald.ox.ac.uk> Content-Type: text/plain I'd recommend WinSCP or Filezilla, both are free, open source FTP clients. Filezilla Pros: Available for Windows, Mac, and Linux Cons: No synchronize feature; does not support SCP protocol WinSCP Pros: Has portable executable version; has synchronize feature; supports SCP protocol in addition to SFTP & FTP Cons: Only available for Windows Liz In message <9C2785C9A3152441B3AAC2E03346BC4C039C0B7A at s0141136.miamidade.gov> Museum Computer Network Listserv writes: > Dear Colleagues, > > > > When googling "free ftp software" several types of software show up. > > Is there any one in particular that you would recommend or un-recommend? > > > > Thank you, once gain, for your input! > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l -- Ms Elizabeth Bruton Web Officer, Museum of the History of Science, Oxford e: elizabeth.bruton at mhs.ox.ac.uk w: http://www.mhs.ox.ac.uk ------------------------------ Message: 13 Date: Wed, 15 Oct 2008 11:21:33 -0400 From: Tracy Davenport Subject: Re: [MCN-L] free ftp software? To: Museum Computer Network Listserv Message-ID: <15150CBCC92A2E45B65B6CD7582A9747134A8E47DB at EVS-RED.coloflorida.com> Content-Type: text/plain; charset="us-ascii" Remko: It depends on what you are trying to accomplish. If you simply want to download or upload files from an existing source, then an FTP Client is what you want, and there are several good free ones. I use FileZilla and it is available for Windows, Mac, and Linux. Another Windows option is WS_FTP, and other Mac options are Fetch and CyberDuck. On the other hand, if you want to set up a file repository to make files available remotely to yourself or others, then you need a FTP Server, and there are also several good free ones. Again, FileZilla offers a good product, although it runs only on Windows. Other options for Mac or Linux are ProFTPd or PureFTPd. Best regards, Tracy Davenport Senior Consultant NPower Charlotte Region Charlotte, NC (704) 716-7767 ext. 231 tdavenport at npowercharlotteregion.org -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Wednesday, October 15, 2008 10:40 AM To: mcn-l at mcn.edu Subject: [MCN-L] free ftp software? Dear Colleagues, When googling "free ftp software" several types of software show up. Is there any one in particular that you would recommend or un-recommend? Thank you, once gain, for your input! Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ Message: 14 Date: Wed, 15 Oct 2008 08:44:01 -0700 From: "Melissa Johnson" Subject: Re: [MCN-L] free ftp software? To: "Museum Computer Network Listserv" Message-ID: <518A20175FE51D4B9EBBB9DB28F6E06E47634D at athene.historysanjose.org> Content-Type: text/plain;charset="iso-8859-1" I use Filezilla. It's pretty simple and, so far, has met all of my limited needs. --Melissa Melissa Johnson Curator of Interactive Media history|san jos? -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Wednesday, October 15, 2008 7:40 AM To: mcn-l at mcn.edu Subject: [MCN-L] free ftp software? Dear Colleagues, When googling "free ftp software" several types of software show up. Is there any one in particular that you would recommend or un-recommend? Thank you, once gain, for your input! Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ Message: 15 Date: Wed, 15 Oct 2008 11:59:56 -0400 From: Jeff Evans Subject: [MCN-L] The Museum System on Mac via VMWare Fusion To: Museum Computer Network Listserv Message-ID: Content-Type: text/plain;charset="ISO-8859-1" Hi ? Is anyone running TMS on an new Intel Mac via VMWare Fusion? Pros and cons? Likes and dislikes? JEFF Jeffrey Evans Digital Imaging Specialist Princeton University Art Museum 609.258.8579 ------------------------------ Message: 16 Date: Wed, 15 Oct 2008 10:18:44 -0700 From: "Perian Sully" Subject: Re: [MCN-L] free ftp software? To: "Museum Computer Network Listserv" Message-ID: Content-Type: text/plain;charset="US-ASCII" I use both of these myself. I am more comfortable with Filezilla and use it for more traditional FTP sites, but WinSCP's use of SCP means I end up using it for one other site I connect to on a regular basis (this site doesn't allow FTP or SFTP) Perian Sully Collections Information and Web Programs Manager Judah L. Magnes Museum -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Elizabeth Bruton Sent: Wednesday, October 15, 2008 7:59 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] free ftp software? I'd recommend WinSCP or Filezilla, both are free, open source FTP clients. Filezilla Pros: Available for Windows, Mac, and Linux Cons: No synchronize feature; does not support SCP protocol WinSCP Pros: Has portable executable version; has synchronize feature; supports SCP protocol in addition to SFTP & FTP Cons: Only available for Windows Liz > You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l ------------------------------ _______________________________________________ mcn-l mailing list mcn-l at mcn.edu http://toronto.mediatrope.com/mailman/listinfo/mcn-l End of mcn-l Digest, Vol 37, Issue 10 ************************************* _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From jfevans at Princeton.EDU Tue Oct 21 06:05:59 2008 From: jfevans at Princeton.EDU (Jeff Evans) Date: Tue, 21 Oct 2008 09:05:59 -0400 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: Message-ID: I read these fast, so I might have missed it, but no one is mentioning CMYK printing. That is what all this is about. If you're working with a good printer, especially one who reproduces fine art images on a regular basis, your color workflow will be guided by them. Color scales in the film will help you with selecting the best exposure as well as creating a balanced scan. Color targets in direct capture images will assist the software in creating a balanced image. Both targets matter to the color separator who is converting your file to CMYK. And, if your workflow allows it, you are "hard proofing" the CMYK print against the actual work under controlled lighting conditions. JEFF Jeffrey Evans Digital Imaging Specialist Princeton University Art Museum 609.258.8579 On 10/20/08 10:15 PM, "Thiel, Sarah Goodwin" wrote: > > > nicely put. > > > > -----Original Message----- > From: mcn-l-bounces at mcn.edu on behalf of Stanley Smith > Sent: Mon 10/20/2008 4:44 PM > To: mcn-l at mcn.edu > Subject: Re: [MCN-L] photography, digitization, and a color/grey card? > > A couple of comments regarding the use of grayscale and color bars: > > - due to differences between dyes and/or pigments used to make the > color bars and the materials used to produce the actual artwork, > accurately rendering the grayscales in a particular image may NOT > produce the most accurate rendition of the artwork itself. > > - If there is some visual editing to tweak color into place (hopefully > under calibrated viewing conditions with direct comparisons to the > original artwork), then another operator who may be printing the image > later will most likely UNDO those edits if they assume that the image is > rendered correctly by printing a neutral grayscale. > > - There is some interest in the production of "virtual" grayscales and > color bars. These would be digitally dropped into the edited and color > corrected image with the same colorspace as the original image. Then > other users would achieve better color when they match the grayscale and > color bars. > > - If it is your decision to incorporate grayscales and color bars, then > it is really not good practice to only do it once for a "batch". It is > too difficult to mate up the correct grayscales with subsequent images-- > especially years hence. Put them in every image. > > > > > Stanley Smith > Manager, Imaging Services > J. Paul Getty Museum > 1200 Getty Center Drive, Suite 1000 > Los Angeles, CA 90049-1687 > (310) 440-7286 > > >>>> 10/15/2008 12:00 PM >>> > Send mcn-l mailing list submissions to > mcn-l at mcn.edu > > To subscribe or unsubscribe via the World Wide Web, visit > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > or, via email, send a message with subject or body 'help' to > mcn-l-request at mcn.edu > > You can reach the person managing the list at > mcn-l-owner at mcn.edu > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of mcn-l digest..." > > > Today's Topics: > > 1. photography, digitization, and a color/grey card? > (Jansonius, Remko (Vizcaya)) > 2. Re: photography, digitization, and a color/grey card? > (Frank E. Thomson) > 3. Re: photography, digitization, and a color/grey card? > (Tim Atherton) > 4. Re: photography, digitization, and a color/grey card? > (Nilsen, Dianne) > 5. IP SIG: No fair use for thumbnails in Germany > (akeshet at imj.org.il) > 6. IP SIG: McCain-Palin, DMCA, YouTube, and Fair Use > (akeshet at imj.org.il) > 7. Re: photography, digitization, and a color/grey card? > (Genevieve De mahy) > 8. Digitization - definition and strategic planning (Diane M. > Zorich) > 9. free ftp software? (Jansonius, Remko (Vizcaya)) > 10. Re: free ftp software? (Edwards, Chris) > 11. Re: free ftp software? (Daniel M. Bartolini) > 12. Re: free ftp software? (Elizabeth Bruton) > 13. Re: free ftp software? (Tracy Davenport) > 14. Re: free ftp software? (Melissa Johnson) > 15. The Museum System on Mac via VMWare Fusion (Jeff Evans) > 16. Re: free ftp software? (Perian Sully) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Tue, 14 Oct 2008 17:04:21 -0400 > From: "Jansonius, Remko (Vizcaya)" > Subject: [MCN-L] photography, digitization, and a color/grey card? > To: > Message-ID: > <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3 at s0141136.miamidade.gov> > Content-Type: text/plain;charset="us-ascii" > > Dear Colleagues, > > > > We are about to digitize a collection of photo albums containing > 1910s/20s photographs; while they are black and white, many have > discolored and turned sepia over the years. Since these are fragile, > bound volumes we will be doing this through photography rather than > scanning. Would you say it is necessary or advisable or standard > practice to use a color card or a grey card during this process? > > > > As always, I greatly appreciate y'all's input! > > > > Sincerely, > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > > > ------------------------------ > > Message: 2 > Date: Tue, 14 Oct 2008 17:06:12 -0400 > From: "Frank E. Thomson" > Subject: Re: [MCN-L] photography, digitization, and a color/grey card? > To: Museum Computer Network Listserv > Message-ID: > <6905D9194DC5B6489FA18E7E0763D9740701097682 at server4.ashart.local> > Content-Type: text/plain; charset="us-ascii" > > I would suggest shooting an image of the color bar at the start of each > session, maybe not in every image. But it would be helpful later trying > to match color and value. > > Frank Thomson, Curator > > Asheville Art Museum > > PO Box 1717 > > Asheville, NC 28802 > > 828.253.3227 tel > > 828257.4503 fax > > www.ashevilleart.org > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Jansonius, Remko (Vizcaya) > Sent: Tuesday, October 14, 2008 5:04 PM > To: mcn-l at mcn.edu > Subject: [MCN-L] photography, digitization, and a color/grey card? > > Dear Colleagues, > > > > We are about to digitize a collection of photo albums containing > 1910s/20s photographs; while they are black and white, many have > discolored and turned sepia over the years. Since these are fragile, > bound volumes we will be doing this through photography rather than > scanning. Would you say it is necessary or advisable or standard > practice to use a color card or a grey card during this process? > > > > As always, I greatly appreciate y'all's input! > > > > Sincerely, > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum > Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > > > ------------------------------ > > Message: 3 > Date: Tue, 14 Oct 2008 16:38:54 -0600 > From: Tim Atherton > Subject: Re: [MCN-L] photography, digitization, and a color/grey card? > To: Museum Computer Network Listserv > Message-ID: > Content-Type: text/plain;charset="ISO-8859-1" > > > And don't bother with the Kodak cards - get the Gretag Macbeth ones > instead. > (they usefully come in a couple of sizes as well). > > (especially, don't rely on old colour charts you may have around from > the > days when you had a photographer 7 or 8 years ago. They fade over time > and > the colours also fade differentially) > > http://xrite.gretagmacbethstore.com/index.cfm?act=catalog.cfm&menugroup=__me > > nu+usa+new > > > tim a From Erik_Landsberg at moma.org Tue Oct 21 08:14:58 2008 From: Erik_Landsberg at moma.org (Landsberg, Erik) Date: Tue, 21 Oct 2008 11:14:58 -0400 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: Message-ID: Interesting thread. Our current solution to the issues below is to capture a Macbeth Color Checker within every shot and save that file as DNG. We then convert to TIFF, crop away the captured color checker, do our visual editing tweaks, and insert an electronically generated ?perfect? Macbeth chart into the tiff which becomes our distribution copy. In this way we have documentation of our captured color in the DNG, but avoid losing our color corrections down the reproduction chain by anyone who might be tempted to neutralize on the gray patches. Erik Erik Landsberg Head of Collections Imaging The Museum of Modern Art 11 West 53 Street, New York, NY 10019 212-708-9489 erik_landsberg at moma.org www.moma.org From: Jeff Evans Reply-To: Museum Computer Network Listserv Date: Tue, 21 Oct 2008 09:05:59 -0400 To: Museum Computer Network Listserv Conversation: [MCN-L] photography, digitization, and a color/grey card? Subject: Re: [MCN-L] photography, digitization, and a color/grey card? I read these fast, so I might have missed it, but no one is mentioning CMYK printing. That is what all this is about. If you're working with a good printer, especially one who reproduces fine art images on a regular basis, your color workflow will be guided by them. Color scales in the film will help you with selecting the best exposure as well as creating a balanced scan. Color targets in direct capture images will assist the software in creating a balanced image. Both targets matter to the color separator who is converting your file to CMYK. And, if your workflow allows it, you are "hard proofing" the CMYK print against the actual work under controlled lighting conditions. JEFF Jeffrey Evans Digital Imaging Specialist Princeton University Art Museum 609.258.8579 On 10/20/08 10:15 PM, "Thiel, Sarah Goodwin" wrote: > > > nicely put. > > > > -----Original Message----- > From: mcn-l-bounces at mcn.edu on behalf of Stanley Smith > Sent: Mon 10/20/2008 4:44 PM > To: mcn-l at mcn.edu > Subject: Re: [MCN-L] photography, digitization, and a color/grey card? > > A couple of comments regarding the use of grayscale and color bars: > > - due to differences between dyes and/or pigments used to make the > color bars and the materials used to produce the actual artwork, > accurately rendering the grayscales in a particular image may NOT > produce the most accurate rendition of the artwork itself. > > - If there is some visual editing to tweak color into place (hopefully > under calibrated viewing conditions with direct comparisons to the > original artwork), then another operator who may be printing the image > later will most likely UNDO those edits if they assume that the image is > rendered correctly by printing a neutral grayscale. > > - There is some interest in the production of "virtual" grayscales and > color bars. These would be digitally dropped into the edited and color > corrected image with the same colorspace as the original image. Then > other users would achieve better color when they match the grayscale and > color bars. > > - If it is your decision to incorporate grayscales and color bars, then > it is really not good practice to only do it once for a "batch". It is > too difficult to mate up the correct grayscales with subsequent images-- > especially years hence. Put them in every image. > > > > > Stanley Smith > Manager, Imaging Services > J. Paul Getty Museum > 1200 Getty Center Drive, Suite 1000 > Los Angeles, CA 90049-1687 > (310) 440-7286 > > >>>> 10/15/2008 12:00 PM >>> > Send mcn-l mailing list submissions to > mcn-l at mcn.edu > > To subscribe or unsubscribe via the World Wide Web, visit > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > or, via email, send a message with subject or body 'help' to > mcn-l-request at mcn.edu > > You can reach the person managing the list at > mcn-l-owner at mcn.edu > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of mcn-l digest..." > > > Today's Topics: > > 1. photography, digitization, and a color/grey card? > (Jansonius, Remko (Vizcaya)) > 2. Re: photography, digitization, and a color/grey card? > (Frank E. Thomson) > 3. Re: photography, digitization, and a color/grey card? > (Tim Atherton) > 4. Re: photography, digitization, and a color/grey card? > (Nilsen, Dianne) > 5. IP SIG: No fair use for thumbnails in Germany > (akeshet at imj.org.il) > 6. IP SIG: McCain-Palin, DMCA, YouTube, and Fair Use > (akeshet at imj.org.il) > 7. Re: photography, digitization, and a color/grey card? > (Genevieve De mahy) > 8. Digitization - definition and strategic planning (Diane M. > Zorich) > 9. free ftp software? (Jansonius, Remko (Vizcaya)) > 10. Re: free ftp software? (Edwards, Chris) > 11. Re: free ftp software? (Daniel M. Bartolini) > 12. Re: free ftp software? (Elizabeth Bruton) > 13. Re: free ftp software? (Tracy Davenport) > 14. Re: free ftp software? (Melissa Johnson) > 15. The Museum System on Mac via VMWare Fusion (Jeff Evans) > 16. Re: free ftp software? (Perian Sully) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Tue, 14 Oct 2008 17:04:21 -0400 > From: "Jansonius, Remko (Vizcaya)" > Subject: [MCN-L] photography, digitization, and a color/grey card? > To: > Message-ID: > <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3 at s0141136.miamidade.gov> > Content-Type: text/plain;charset="us-ascii" > > Dear Colleagues, > > > > We are about to digitize a collection of photo albums containing > 1910s/20s photographs; while they are black and white, many have > discolored and turned sepia over the years. Since these are fragile, > bound volumes we will be doing this through photography rather than > scanning. Would you say it is necessary or advisable or standard > practice to use a color card or a grey card during this process? > > > > As always, I greatly appreciate y'all's input! > > > > Sincerely, > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > > > ------------------------------ > > Message: 2 > Date: Tue, 14 Oct 2008 17:06:12 -0400 > From: "Frank E. Thomson" > Subject: Re: [MCN-L] photography, digitization, and a color/grey card? > To: Museum Computer Network Listserv > Message-ID: > <6905D9194DC5B6489FA18E7E0763D9740701097682 at server4.ashart.local> > Content-Type: text/plain; charset="us-ascii" > > I would suggest shooting an image of the color bar at the start of each > session, maybe not in every image. But it would be helpful later trying > to match color and value. > > Frank Thomson, Curator > > Asheville Art Museum > > PO Box 1717 > > Asheville, NC 28802 > > 828.253.3227 tel > > 828257.4503 fax > > www.ashevilleart.org > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Jansonius, Remko (Vizcaya) > Sent: Tuesday, October 14, 2008 5:04 PM > To: mcn-l at mcn.edu > Subject: [MCN-L] photography, digitization, and a color/grey card? > > Dear Colleagues, > > > > We are about to digitize a collection of photo albums containing > 1910s/20s photographs; while they are black and white, many have > discolored and turned sepia over the years. Since these are fragile, > bound volumes we will be doing this through photography rather than > scanning. Would you say it is necessary or advisable or standard > practice to use a color card or a grey card during this process? > > > > As always, I greatly appreciate y'all's input! > > > > Sincerely, > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum > Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > > > ------------------------------ > > Message: 3 > Date: Tue, 14 Oct 2008 16:38:54 -0600 > From: Tim Atherton > Subject: Re: [MCN-L] photography, digitization, and a color/grey card? > To: Museum Computer Network Listserv > Message-ID: > Content-Type: text/plain;charset="ISO-8859-1" > > > And don't bother with the Kodak cards - get the Gretag Macbeth ones > instead. > (they usefully come in a couple of sizes as well). > > (especially, don't rely on old colour charts you may have around from > the > days when you had a photographer 7 or 8 years ago. They fade over time > and > the colours also fade differentially) > > http://xrite.gretagmacbethstore.com/index.cfm?act=catalog.cfm=__me > > nu+usa+new > > > tim a _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From Erik_Landsberg at moma.org Tue Oct 21 08:21:12 2008 From: Erik_Landsberg at moma.org (Landsberg, Erik) Date: Tue, 21 Oct 2008 11:21:12 -0400 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: Message-ID: Not sure if it was clear in my post below that we archive both the DNG and the TIFF. The visual editing is done within a calibrated environment: Kelvin temp of monitor =(with small variation) the Kelvin temp of the light source illuminating the artwork. Erik From: "Landsberg, Erik" Reply-To: Museum Computer Network Listserv Date: Tue, 21 Oct 2008 11:14:58 -0400 To: Museum Computer Network Listserv Conversation: [MCN-L] photography, digitization, and a color/grey card? Subject: Re: [MCN-L] photography, digitization, and a color/grey card? Interesting thread. Our current solution to the issues below is to capture a Macbeth Color Checker within every shot and save that file as DNG. We then convert to TIFF, crop away the captured color checker, do our visual editing tweaks, and insert an electronically generated ?perfect? Macbeth chart into the tiff which becomes our distribution copy. In this way we have documentation of our captured color in the DNG, but avoid losing our color corrections down the reproduction chain by anyone who might be tempted to neutralize on the gray patches. Erik Erik Landsberg Head of Collections Imaging The Museum of Modern Art 11 West 53 Street, New York, NY 10019 212-708-9489 erik_landsberg at moma.org www.moma.org From: Jeff Evans Reply-To: Museum Computer Network Listserv Date: Tue, 21 Oct 2008 09:05:59 -0400 To: Museum Computer Network Listserv Conversation: [MCN-L] photography, digitization, and a color/grey card? Subject: Re: [MCN-L] photography, digitization, and a color/grey card? I read these fast, so I might have missed it, but no one is mentioning CMYK printing. That is what all this is about. If you're working with a good printer, especially one who reproduces fine art images on a regular basis, your color workflow will be guided by them. Color scales in the film will help you with selecting the best exposure as well as creating a balanced scan. Color targets in direct capture images will assist the software in creating a balanced image. Both targets matter to the color separator who is converting your file to CMYK. And, if your workflow allows it, you are "hard proofing" the CMYK print against the actual work under controlled lighting conditions. JEFF Jeffrey Evans Digital Imaging Specialist Princeton University Art Museum 609.258.8579 On 10/20/08 10:15 PM, "Thiel, Sarah Goodwin" wrote: > > > nicely put. > > > > -----Original Message----- > From: mcn-l-bounces at mcn.edu on behalf of Stanley Smith > Sent: Mon 10/20/2008 4:44 PM > To: mcn-l at mcn.edu > Subject: Re: [MCN-L] photography, digitization, and a color/grey card? > > A couple of comments regarding the use of grayscale and color bars: > > - due to differences between dyes and/or pigments used to make the > color bars and the materials used to produce the actual artwork, > accurately rendering the grayscales in a particular image may NOT > produce the most accurate rendition of the artwork itself. > > - If there is some visual editing to tweak color into place (hopefully > under calibrated viewing conditions with direct comparisons to the > original artwork), then another operator who may be printing the image > later will most likely UNDO those edits if they assume that the image is > rendered correctly by printing a neutral grayscale. > > - There is some interest in the production of "virtual" grayscales and > color bars. These would be digitally dropped into the edited and color > corrected image with the same colorspace as the original image. Then > other users would achieve better color when they match the grayscale and > color bars. > > - If it is your decision to incorporate grayscales and color bars, then > it is really not good practice to only do it once for a "batch". It is > too difficult to mate up the correct grayscales with subsequent images-- > especially years hence. Put them in every image. > > > > > Stanley Smith > Manager, Imaging Services > J. Paul Getty Museum > 1200 Getty Center Drive, Suite 1000 > Los Angeles, CA 90049-1687 > (310) 440-7286 > > >>>> 10/15/2008 12:00 PM >>> > Send mcn-l mailing list submissions to > mcn-l at mcn.edu > > To subscribe or unsubscribe via the World Wide Web, visit > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > or, via email, send a message with subject or body 'help' to > mcn-l-request at mcn.edu > > You can reach the person managing the list at > mcn-l-owner at mcn.edu > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of mcn-l digest..." > > > Today's Topics: > > 1. photography, digitization, and a color/grey card? > (Jansonius, Remko (Vizcaya)) > 2. Re: photography, digitization, and a color/grey card? > (Frank E. Thomson) > 3. Re: photography, digitization, and a color/grey card? > (Tim Atherton) > 4. Re: photography, digitization, and a color/grey card? > (Nilsen, Dianne) > 5. IP SIG: No fair use for thumbnails in Germany > (akeshet at imj.org.il) > 6. IP SIG: McCain-Palin, DMCA, YouTube, and Fair Use > (akeshet at imj.org.il) > 7. Re: photography, digitization, and a color/grey card? > (Genevieve De mahy) > 8. Digitization - definition and strategic planning (Diane M. > Zorich) > 9. free ftp software? (Jansonius, Remko (Vizcaya)) > 10. Re: free ftp software? (Edwards, Chris) > 11. Re: free ftp software? (Daniel M. Bartolini) > 12. Re: free ftp software? (Elizabeth Bruton) > 13. Re: free ftp software? (Tracy Davenport) > 14. Re: free ftp software? (Melissa Johnson) > 15. The Museum System on Mac via VMWare Fusion (Jeff Evans) > 16. Re: free ftp software? (Perian Sully) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Tue, 14 Oct 2008 17:04:21 -0400 > From: "Jansonius, Remko (Vizcaya)" > Subject: [MCN-L] photography, digitization, and a color/grey card? > To: > Message-ID: > <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3 at s0141136.miamidade.gov> > Content-Type: text/plain;charset="us-ascii" > > Dear Colleagues, > > > > We are about to digitize a collection of photo albums containing > 1910s/20s photographs; while they are black and white, many have > discolored and turned sepia over the years. Since these are fragile, > bound volumes we will be doing this through photography rather than > scanning. Would you say it is necessary or advisable or standard > practice to use a color card or a grey card during this process? > > > > As always, I greatly appreciate y'all's input! > > > > Sincerely, > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > > > ------------------------------ > > Message: 2 > Date: Tue, 14 Oct 2008 17:06:12 -0400 > From: "Frank E. Thomson" > Subject: Re: [MCN-L] photography, digitization, and a color/grey card? > To: Museum Computer Network Listserv > Message-ID: > <6905D9194DC5B6489FA18E7E0763D9740701097682 at server4.ashart.local> > Content-Type: text/plain; charset="us-ascii" > > I would suggest shooting an image of the color bar at the start of each > session, maybe not in every image. But it would be helpful later trying > to match color and value. > > Frank Thomson, Curator > > Asheville Art Museum > > PO Box 1717 > > Asheville, NC 28802 > > 828.253.3227 tel > > 828257.4503 fax > > www.ashevilleart.org > > -----Original Message----- > From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of > Jansonius, Remko (Vizcaya) > Sent: Tuesday, October 14, 2008 5:04 PM > To: mcn-l at mcn.edu > Subject: [MCN-L] photography, digitization, and a color/grey card? > > Dear Colleagues, > > > > We are about to digitize a collection of photo albums containing > 1910s/20s photographs; while they are black and white, many have > discolored and turned sepia over the years. Since these are fragile, > bound volumes we will be doing this through photography rather than > scanning. Would you say it is necessary or advisable or standard > practice to use a color card or a grey card during this process? > > > > As always, I greatly appreciate y'all's input! > > > > Sincerely, > > > > Remko Jansonius > > Collections and Archives Manager > > Vizcaya Museum and Gardens > > Miami, FL > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum > Computer Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l > > > ------------------------------ > > Message: 3 > Date: Tue, 14 Oct 2008 16:38:54 -0600 > From: Tim Atherton > Subject: Re: [MCN-L] photography, digitization, and a color/grey card? > To: Museum Computer Network Listserv > Message-ID: > Content-Type: text/plain;charset="ISO-8859-1" > > > And don't bother with the Kodak cards - get the Gretag Macbeth ones > instead. > (they usefully come in a couple of sizes as well). > > (especially, don't rely on old colour charts you may have around from > the > days when you had a photographer 7 or 8 years ago. They fade over time > and > the colours also fade differentially) > > http://xrite.gretagmacbethstore.com/index.cfm?act=catalog.cfm=__me > > > nu+usa+new > > > tim a _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From MParadis at Gallery.ca Tue Oct 21 10:46:44 2008 From: MParadis at Gallery.ca (MParadis at Gallery.ca) Date: Tue, 21 Oct 2008 13:46:44 -0400 Subject: [MCN-L] FW: photography, digitization, and a color/grey card? Message-ID: <7EB3F7DBBD8F794C9976C9619F86D5580836B95E67@MERCURY.NGC.MBAC> Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of MParadis at Gallery.ca Sent: Monday, October 20, 2008 6:22 PM To: mcn-l at mcn.edu Subject: Re: [MCN-L] photography, digitization, and a color/grey card? Hi All, This is my first posting since joining many years ago, but I'm an avid reader of the MCN. To that end I'd like to add my two cents worth to the discussion. Color bars and grey scales have been discussed since their invention. They have been a standard for so very long but do pose a few concerns for me. First point I do agree on is that the Greytag color checker is far superior to the Kodak medium. The non reflective nature of the Greytag checker helps eliminate flare thus providing more consistent results if you feel that color checkers are the solution for your operation. My objection to color bars when included at the capture/scanning stage is that any global changes made in image editing software will also extend to the color reference as well. Send the file to printing and the printers will correct the scale back to its know color and your original will share this bias. Knowing that the subject matter we all tend to deal with requires some degree of alteration at the capture phase we found we had to develop a new way of adding visual reference material that would be independent of the final edited image. Here's our thinking and solution which has been extremely successful for our collection of over 29,000 captures to date; First, calibration, calibration, calibration of all devices used in the reproduction process. This is now an old mantra to most image creators today but it cannot be stressed enough. We have a weekly regimen of systematic calibration of cameras and monitors to ensure consistency on these variables. Secondly, viewing conditions of originals. We undertook the conversion of our studio spaces to 5000K lighting in our fluorescent fixtures. We confirm these conditions with a color temperature meter monthly. This gives the photographer a reference environment to confirm color and contrast at the time of capture to the results visible on the calibrated monitor. This tends to be the one and only time this comparison can be made by a trained visual professional and is therefore critical to the final outcome. Once the image has been fined tuned by the photographer to best reflect the original we move on to the final piece of the reference puzzle. Third step, create your own unbiased reference scale. Yup, I said it, a homemade solution. Our approach was to create a digitally perfect reference grey scale in Photoshop. We created a 21 step, digitally created grey scale in Photoshop in .15 step increments just like the Kodak ones are supposed to be. Beginning at values of 0,0,0 for purest digital black on up to 255,255,255 for maximum white. With this technique each step of the scale is measurable and digitally accurate for today and evermore. Once an image capture is completed by the photographer (in their calibrated work environment), the digital scale is then added post-capture thus anchoring the original look to a perfect scale. Now when the printers make a neutral scale they are actually not affecting the final outcome of the photographer's rendition of the subject. We encourage them to use the scale without reservation for first run proofs. This system will also allow some insight into the ability of your printer in delivering a linear tone scale. If they can't deal with a neutral balance in the scale then a final publication will be a hit and miss project at the best of times. When scale proofs are measured from a linear reference it can be a beneficial tool in addressing the printers' possible areas of inconsistency either at the time of CMYK conversion or at the press. Because this technique has known values it puts to bed any debate of the scale's robustness or variability. The scale never changes! I hope this offers you another approach to this long standing issue. When the museum of color scales opens and the catalogue of scales is published, I'll go back to shooting them as subject and put away my computer. Until that time, the art rules! Mark Paradis Chief, Multimedia Services-Chef de services multim?dia National Gallery of Canada, Mus?e des beaux-arts du Canada 380 Sussex Drive,Ottawa, Ontario K1N 9N4 ph. 613-990-1788, fx. 613-991-2680 cell 613-797-0558 -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Genevieve De mahy Sent: Wednesday, October 15, 2008 9:48 AM To: Museum Computer Network Listserv Subject: Re: [MCN-L] photography, digitization, and a color/grey card? Dear Remko, As Dianne mentioned, the color bars are extremely important parts of digitizing a collection, particularly when you are dealing with older photographs that may vary in condition. The CWM recently digitized over 6,800 official photographs from the First World War, most of which had been stuck in albums for decades. The decision was made to remove them from the deteriorating condition of the albums themselves, and we were left with every kind of problem from color fade to cracking. We went ahead with careful scanning nonetheless and always used a color bar in that process. Even though this initiative was funded in support of our latest online project, the now digital photos selected from this collection for use in the module were then cropped to remove the color bar for the shows version of the captured image. I insisted on ensuring the primary archival function of the artifact was prominent over the one-time "show" requirement, regardless of the extra resources required to accomplish it, and it has served us well. Not only is the show a great success, showing 261 of the beautiful images, but our Image Reproduction Services reports requests for other images from the collection, and because they have the Master digital to work with, color bar and all, they can accommodate the broadest range of requests without having to manipulate the original, fragile, image again. My suggestion would be not to short change yourself on future use, take the time now to ensure it is done for years to come. Regards, Genevieve -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Tuesday, October 14, 2008 5:04 PM To: mcn-l at mcn.edu Subject: [MCN-L] photography, digitization, and a color/grey card? Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From akeshet at imj.org.il Tue Oct 21 22:54:37 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Wed, 22 Oct 2008 07:54:37 +0200 Subject: [MCN-L] IP SIG: Send Lawyers, Guns, and Money: Hollywood Attacks Message-ID: <149FDECF7500014B85D070C43C708BE703E64C5F@mail3.imj.org.il> >From The Motley Fool. Interesting to see an investment source jump on the bandwagon and echo Larry Lessig (http://musematic.net/?p=519) . "Send Lawyers, Guns, and Money: Hollywood Attacks" http://www.fool.com/investing/general/2008/10/14/send-lawyers-guns-and-money-hollywood-attacks.aspx Amalyah Keshet Chair, MCN IP SIG From akeshet at imj.org.il Wed Oct 22 05:01:52 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Wed, 22 Oct 2008 14:01:52 +0200 Subject: [MCN-L] IP SIG: Creative Commons Message-ID: <149FDECF7500014B85D070C43C708BE7A6622B@mail3.imj.org.il> A new short film by Jesse Dylan on Creative Commons is available at: http://lessig.org/blog/2008/10/a_new_favorite_jesse_dylan_mak.html Amalyah Keshet Chair, MCN IP SIG From annamaria.pomaswank at gmail.com Wed Oct 22 05:51:43 2008 From: annamaria.pomaswank at gmail.com (Annamaria Poma-Swank) Date: Wed, 22 Oct 2008 14:51:43 +0200 Subject: [MCN-L] art museums missions Message-ID: Dear all, I need your wisdom and help. I would like to know if there have been researches, review and/or studies on art museum missions after the web revolution. I am interested in finding out how much technology has (if actually it does) affected museums policies (changes, new ideas, new topics, etc.) and viceversa. Please write to me at pomaswank at rinascimento-digitale.it Best Annamaria References: <9C2785C9A3152441B3AAC2E03346BC4C039C0AD3@s0141136.miamidade.gov> Message-ID: <9C2785C9A3152441B3AAC2E03346BC4C03A6C8BD@s0141136.miamidade.gov> Thank you all so much for giving input on this issue. I have lots to digest, work with and apply. Thanks! -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Jansonius, Remko (Vizcaya) Sent: Tuesday, October 14, 2008 5:04 PM To: mcn-l at mcn.edu Subject: [MCN-L] photography, digitization, and a color/grey card? Dear Colleagues, We are about to digitize a collection of photo albums containing 1910s/20s photographs; while they are black and white, many have discolored and turned sepia over the years. Since these are fragile, bound volumes we will be doing this through photography rather than scanning. Would you say it is necessary or advisable or standard practice to use a color card or a grey card during this process? As always, I greatly appreciate y'all's input! Sincerely, Remko Jansonius Collections and Archives Manager Vizcaya Museum and Gardens Miami, FL _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From lists at lancefield.net Wed Oct 22 13:42:17 2008 From: lists at lancefield.net (Rob Lancefield on lists) Date: Wed, 22 Oct 2008 16:42:17 -0400 Subject: [MCN-L] Fwd: Position Available: Art and Art History Academic Technology Specialist at Stanford University Message-ID: <48FF9029.1050808@lancefield.net> Hi all, The posting below is forwarded with permission. It's from a non-museum space, but there's a (huge) lot of obvious overlap in qualifications.... Rob -------- Original Message -------- Subject: [NMCTAB] Position Available: Art and Art History Academic Technology Specialist at Stanford University Date: Wed, 22 Oct 2008 11:23:11 -0700 From: Kimberly Hayworth To: NMCTAB at Princeton.EDU Hi all, We have a position available in our Academic Technology Specialist Program. Please click the Apply Now link at the end of the email if you're interested. Thanks, -Kim *Academic Technology Specialist Department of Art and Art History, Stanford University Libraries* *Job ID* 32321 *Job Location* University Libraries *Job Category* Information Technology Services *Salary* 4P3 *Date Posted* Oct 15, 2008 The Academic Technology Specialist (ATS) collaborates with faculty and graduate students in Studio Art, Art History and Film, developing and deploying innovative technological solutions in support of research, teaching, and art practice. The ATS must demonstrate a fundamental understanding of the ideas that form the foundation of instruction, practice, and research in the arts, holding an MFA in Studio Art or Design, an MS in Computer Science, or a PhD in Art History. The position requires a deep understanding of both the analog and digital realms; appreciating the value of traditional slides, for example, as well as the opportunities afforded by digital media. The ATS will be physically housed within the Art and Art History department in order to assure proximity and availability to faculty, but will report to a manager in the Academic Technology Specialist Program (ATSP). The ATSP is part of Academic Computing, a unit of Stanford University Libraries and Academic Information Resources. Stanford's Academic Technology Specialists work in alignment with the University's commitment to excellence in education and its general vision to improve teaching, learning, and research by implementing and developing new technologies. *Responsibilities:* The ATS will be required to bring the leadership and technical expertise necessary to envision and execute exceptional, innovative projects. Though the nature of the collaborations will vary, the ATS is expected to research, analyze and evaluate potential projects; provide advice and consultation on technical matters relating to teaching, research and studio practice; and design, develop and execute project plans in coordination with faculty and graduate students. Achieving these goals will often require the ATS to partner with other campus entities. In addition to project-based work, the ATS will evaluate the technology needs of the department overall. This evaluation will serve as a guide both in making personalized recommendations to faculty and in planning for the new Art & Art History building. The ATS will consult with faculty on discipline-specific technology needs to help them acquire and use technology and digital resources, liaising as needed with campus resource providers and campus-wide applications. In addition to working with faculty and staff in Art and Art History, the ATS will spend one day per week participating in activities sponsored by the Academic Technology Specialist program. Integral to the work of the ATS is engaging professionally in related scholarship through publication and/or presentation of research. *Qualifications:* * A Master's degree in Studio Art, Design or CS, or a PhD in Art History, plus 3 years experience in academic computing or related industry * Experience teaching color theory or the principles and implementation of digital color management * Expert knowledge of digital media standards and metadata * Expert digital imaging skills * Expertise with non-linear digital video editing tools * Expert knowledge of video codecs, video transfer, video formats and encoding compatibility issues * Demonstrated applications of relevant programming/scripting languages (such as Python, Ruby, Perl, ActionScript, Processing or MEL) and functional expertise with UNIX * Demonstrated experience addressing issues related to intellectual property rights (copyright) as they pertain to image-based curricular and research operations * Excellent time and project management skills demonstrated by specific experience managing projects and a complex workload * Demonstrated success participating in collaborative academic projects * Excellent verbal and written communication skills *Apply Now* From akeshet at imj.org.il Thu Oct 23 00:04:22 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Thu, 23 Oct 2008 09:04:22 +0200 Subject: [MCN-L] Takeovers & Makeovers: Artistic Appropriation, Fair Use, and Copyright in the Digital Age. Message-ID: <149FDECF7500014B85D070C43C708BE7A66239@mail3.imj.org.il> Once again, those in the Berkeley area are the lucky ones: ------------------------------------------------------------------------ --------------- Takeovers and Makeovers: Artistic Appropriation, Fair Use, and Copyright in the Digital Age http://bcnm.berkeley.edu/takeovers/ On November 7 & 8, 2008, the University of California, Berkeley will hold a symposium on appropriation rights in the digital era entitled: Takeovers & Makeovers: Artistic Appropriation, Fair Use, and Copyright in the Digital Age. This event will bring together artists, lawyers, art historians, and representatives from the information technology community to discuss the changing field of appropriation art in the wake of the emergence of new digital media technologies that have radically altered access to and manipulation of information. Takeovers & Makeovers: Artistic Appropriation, Fair Use, and Copyright in the Digital Age November 7th and 8th, 2008 University of California, Berkeley Berkeley Art Museum 2621 Durant Avenue, Berkeley, CA 94704 Full program at: http://bcnm.berkeley.edu/takeovers/ Friday November 7, 2008 10:00 Welcome 10:15-11:00 An Introduction to Appropriation in Art David Evans (Professor of Art History, Arts Institute at Bournemouth) 11:00 -12:15 Copyright in the Digital Age: Best Practices for the Arts/Myths of Fair Use Fred Von Lohmann (Senior Staff Attorney, The Electronic Frontier Foundation) Michael Mandiberg (Artist, New York) Jason Schultz (Associate Director, Samuelson Law, Technology & Public Policy Clinic) 1:45-2:45 "The Name of This Band Is Talking Heads MTAA" Presentation by MTAA (M. River & T. Whild, Aritsts New York) 3:00-4:30 Keynote: "Reclaiming the Commons" Tom McDonough (Professor of Art History, SUNY Binghamton) Response Virginia Rutledge (Special Counsel, Creative Commons, Chair, Art Law Committee, New York City Bar Association) Saturday November 8, 2008 10:00 Welcome 10:15-11:15 Fixity and Remix/Participatory Culture Abigail de Kosnik (Professor of New Media and Performance Studies, UC Berkeley) Larisa Mann (Jurisprudence Scholar, Boalt School of Law) 11:15-12:15 Conversation with Candice Breitz Anne Wagner (Professor of Art History, UC Berkeley) & Candice Breitz (Artist, Professor of Fine Art, Braunschweig University of Art) 1:15-2:15 Archives and Museums in the Digital Age Rick Prelinger (Co-Founder, The Prelinger Library & Board President, The Internet Archive) Richard Rinehart (Digital Media Director and Adjunct Curator, Berkeley Art Museum) 2:15-3:00 Media Banditry in the Digital Age Presentation by The Billboard Liberation Front 3:00-4:00 Take-Over/Make-Over: Hacktivism Reconsidered Peter Krapp, (Professor, Film & Media Studies, School of Humanities UC Irvine) Marisa Olson, (Artist, Curator at Large, Rhizome; Ph.D. Candidate, Rhetoric/Film Studies, UC Berkeley) Conference Organizers: Erica Levin (Ph.D. Candidate, Film Studies, UC Berkeley) Tara McDowell (Ph.D. Candidate, Art History, UC Berkeley) Kris Paulsen (Ph.D. Candidate, Rhetoric, UC Berkeley) ________________________________________ From akeshet at imj.org.il Thu Oct 23 03:06:00 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Thu, 23 Oct 2008 12:06:00 +0200 Subject: [MCN-L] FW: Flickr/Yahoo! + 'The Commons' + museums Message-ID: <149FDECF7500014B85D070C43C708BE7A66241@mail3.imj.org.il> Okay, so let's all just move to Berkeley already. -=-=-=-=-=- Design Futures lecture series *sponsored by the Berkeley Center for New Media and the School of Information * *Wednesday Oct 29* *6:00 - 7:30 pm* *BCNM Commons* *UC Berkeley* *George Oates, Flickr/Yahoo!* *Into the Wild: Breathing New Life Into Collections* Using 'The Commons' project as the basis for this presentation, George Oates will show how this innovative pilot program, whereby cultural heritage institutions are invited to share content from their photographic archives on Flickr, can dramatically increase an institution's profile and online positioning. The motives are straightforward: to increase access to these historic photographs, and to elicit general information and additional context from interested members of the Flickr community. Launched in January 2008, 'The Commons' on Flickr has already attracted worldwide attention, and is growing fast. In addition to outlining the program in general, George will talk about some of the new ideas and challenges for museums that are spurred by participation in 'The Commons'. What does it mean for museums to engage so directly in such an open communication channel? What sort of information has the program generated so far? How can this new interaction and activity be useful? * The BNCM Commons is next door to the Free Speech Movement Cafe at Moffitt Library. Map at: _http://tinyurl.com/52epzh_ ------------------------------------------------------- d.box is a new media and design-research workshop that supports UC Berkeley designers, scientists, and artists. It is a space for both producing and critically engaging with new media and design through discussions, hands-on workshops, and design-research projects. For questions, comments, and to be on the mailing list, please write to us at: dbox at ischool.berkeley.edu . ________________________________________ From rjurban at illinois.edu Thu Oct 23 05:30:37 2008 From: rjurban at illinois.edu (Richard Urban) Date: Thu, 23 Oct 2008 07:30:37 -0500 Subject: [MCN-L] IP SIG: FW: Webcast of Daniel Gervais TRIPS 3.0 Lecture References: Message-ID: <77CE6DA4-3EF5-48B3-9720-B29D9B09CA28@illinois.edu> > From: > Date: October 23, 2008 4:56:18 AM CDT > To: "Museum Computer Network Listserv" > Subject: IP SIG: FW: Webcast of Daniel Gervais TRIPS 3.0 Lecture > > > Washington College of Law, American University, supports two > important programs: the Program on Information Justice and IP, and > the > Glushko-Samuelson Intellectual Property Law Clinic. The Faculty > Director of the Intellectual Property Law Clinic, Prof. Peter Jaszi, > will be speaking at MCN 2008. > > > From:Program on Information Justice and Intellectual Property > Washington College of Law > American University > Washington, DC > > > The webcast of Daniel Gervais?s provocative lecture on the future of > the TRIPS (trade-related aspects of intellectual property > rights)agreement in the era of ?TRIPS 3.0? is now posted, with his > powerpoint slides linked to the broadcast, athttp://www.wcl.american.edu/pijip/webcast.cfm > > > > PIJIP > American University, Washington College of Law > > Sean Flynn, esq. > Associate Director > Program on Information Justice and IP > Washington College of Law > American University > 4801 Massachusetts Ave NW > Washington DC 20016 > sflynn at WCL.American.edu > tel: > fax: > mobile: > 202-274-4157 > 202-274-0659 > 202-294-5749 > > > > > > > > From mmisunas at sfmoma.org Thu Oct 23 08:54:10 2008 From: mmisunas at sfmoma.org (Misunas, Marla) Date: Thu, 23 Oct 2008 08:54:10 -0700 Subject: [MCN-L] MCN Silent Auction 2008 three weeks away, check out these items! Message-ID: <45058F8692E66640955EC9882C7C4843047A8F9C@monet.SFMOMA.ORG> Marla Misunas Collections Information Manager Collections Information and Access San Francisco Museum of Modern Art 415-357-4186 (voice) Check out SFMOMA Collections Online www.sfmoma.org __________________________________ Past President, Museum Computer Network http://www.mcn.edu ________________________________ From: Misunas, Marla Sent: Tuesday, October 21, 2008 3:53 PM To: Misunas, Marla Subject: MCN Silent Auction 2008 three weeks away, check out these items! Hello all, The MCN annual meeting in Washington DC is three weeks away! I know you're thinking about what to donate to the auction, so let me tell you what's coming in-- Our wonderful vendors and friends at CDW and Apple are donating an iPod Touch to the auction! Hang out more stylishly, get more done on your commute, relax and enjoy. Be sure to show your support for MCN by bidding on this one early and often. Generous incoming officers Rob Lancefield and Erin Coburn are donating a Sunlinq portable solar panel rated at 6.5 Watts--enough to charge a typical mobile phone, PDA, digital camera, or other 12V device in 2-4 hours. Set it in the sun, go for a hike, be green and charge your phone at the same time. They'll think you're still in the office! Keep an eye on the Conference Events page on mcn.edu for more updates as they come in next week. http://www.mcn.edu/conferences/index.asp?subkey=2110 Want to see your donation featured on the page? Send me an image file! As usual, this year's auction benefits our Scholarship Program, helping emerging museum professionals attend our conference by providing registration and funds towards expenses. We would like to increase their numbers next year, but we can only do it with your help. Help us surpass this year's goal of $1500! Items of any sort--new or old, seriously useful or cheerfully unrelated to museum work--that may be attractive to bidders (and carried by airline passengers) are encouraged. Exhibition catalogues and other institutional publications are always popular. SFMOMA is donating some much-coveted street banners, what will your museum donate? Equally great and easy to carry are museum bags, clothing, and other souvenirs. Donations need not be tangible things--some popular lots in recent years have consisted of services or special half-price registration for professional events. All you artists and crafters out there-you know who you are, now tell us. Bring us your photography, prints, artistic woodburnings, macram?, hand decorated coffee mugs or anything else that will fit into a suitcase. Show off your creativity and help us raise some bucks! Auction items will be accepted at the Conference Registration Desk on Wednesday, and Thursday until noon. You may bid on items throughout the day Thursday, until tables in the Vendor Hall close at 5:30. If you would like to see your item featured on the Events page of the website, send me a photo of it! Here's a sample: http://www.mcn.edu/conferences/index.asp?subkey=2110 Marla Misunas Collections Information Manager Collections Information and Access San Francisco Museum of Modern Art 415-357-4186 (voice) Check out SFMOMA Collections Online www.sfmoma.org __________________________________ Past President, Museum Computer Network http://www.mcn.edu The information contained in this electronic mail message (including any attachments) is confidential information that may be covered by the Electronic Communications Privacy Act, 18 USC Sections 2510-2521, intended only for the use of the individual or entity named above, and may be privileged. If the reader of this message is not the intended recipient, you are hereby notified that any dissemination, distribution, or copying of this communication, or the taking of any action based on it, is strictly prohibited. If you have received this communication in error, please immediately notify me and delete the original message. Thank you From SNYDERR at si.edu Fri Oct 24 06:45:07 2008 From: SNYDERR at si.edu (Snyder, Rebecca) Date: Fri, 24 Oct 2008 09:45:07 -0400 Subject: [MCN-L] digital media migration In-Reply-To: <26C6B0CCB6892843849BE72624C9D12E014B6605@medusa.library.arizona.edu> References: <48F91C3C020000E400022AE4@ntgwgate.loc.gov> <26C6B0CCB6892843849BE72624C9D12E014B6605@medusa.library.arizona.edu> Message-ID: Be sure to store several copies if you go the large volume external hard drive route. They have a horrific track record at our museum -- we've had unrecoverable disk failures eight times this calendar year alone. Plus you wind up with management issues. How to keep track of which images are on which external and how to do bulk format transformations or batch renaming when files are scattered? If funds are tight, it's doable but not ideal. Being from LOC, I imagine you have the facilities to create a reliably backed-up and RAIDed SAN or other network storage. One disk fails, it's just replaced and all is fine. Plus, then any computer on your network can be a transfer station. Just have your interns pop the cd's in and go. It's working well for us. Rebecca Snyder Smithsonian, NMNH -----Original Message----- From: mcn-l-bounces at mcn.edu [mailto:mcn-l-bounces at mcn.edu] On Behalf Of Han, Yan Sent: Monday, October 20, 2008 2:41 PM To: Museum Computer Network Listserv; mcn-l at mcn.edu Subject: Re: [MCN-L] digital media migration I think it is much better to migrate to external hard drives (rather using CDs/DVDs) or massive storage. Depending on how much space you need, 1TB external hard disk costs less than $200. Rather than trusting the failure rate of massive storage (usually expensive), I would rather have multiple copies of data over cheap hard disks/servers. (Thinking about how Google built its clustered PC). Yan -----Original Message----- From: mcn-l-bounces at mcn.edu on behalf of Leslie Johnston Sent: Fri 10/17/2008 8:14 PM To: mcn-l at mcn.edu Subject: [MCN-L] digital media migration All, I'd be interested in hearing from anyone who has recently taken on a media migration project, e.g., retrieving legacy digitization output files from data CDs and DVDs, external hard drives, etc., for transfer to live disk and/or tape. I'm particularly interested in what sort of transfer stations other institutions have built for this purpose. I do not yet have an exhaustive inventory of what media we might be working with, but we suspect it's predominantly CDs burned over a 15 year period. The formats are primarily image files, although there are of course audio, video, PDF, and text files as well. Leslie ---------- Leslie Johnston Digital Media Project Coordinator Office of Strategic Initiatives Library of Congress 202-707-2801 lesliej at loc.gov _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From akeshet at imj.org.il Sun Oct 26 08:00:50 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Sun, 26 Oct 2008 18:00:50 +0200 Subject: [MCN-L] IP SIG at MCN 2008 - PLUS and Metadata Group Guidelines Message-ID: <149FDECF7500014B85D070C43C708BE703E64C79@mail3.imj.org.il> The MCN IP SIG meeting will be held at MCN 2008 on Friday Nov. 14 at 13:00 We are pleased to host a short presentation and discussion on the PLUS Coalition initiative and the Metadata Working Group guidelines (see below). Open to all -- look forward to seeing you there! Amalyah Keshet Alan Newman ----------------------------------------------------------------------- IPTC and PLUS welcome Metadata Group Guidelines London (England), 10 October 2008 -- The International Press Telecommunications Council and the PLUS Coalition have welcomed metadata processing guidelines for software developers that were recently published by the Metadata Working Group. The Metadata Working Group (http://www.metadataworkinggroup.com) is a consortium of leading companies in the digital media industry that was formed in 2006. Adobe, Apple, Canon, Microsoft, Nokia and Sony have joined forces to produce "Guidelines for Handling Image Metadata." The goal of the group is to increase interoperability of digital image metadata across all software, hardware and services. As creator of the IPTC Information Interchange Model (IIM), IPTC Core and IPTC Extension image metadata standards, IPTC has a stake in this work. The IPTC document published this summer, "Persisting Technical Photo Metadata," called for the preservation of all metadata between systems, which would increase workflow productivity and automation. As creator of the PLUS Standards (Picture Licensing Universal System), the PLUS Coalition also has a stake in this work. PLUS has established universal standards for communicating image rights metadata. IPTC is a PLUS Coalition member and participated in the development of the PLUS standards. The Metadata Working Group's Guidelines address issues of synchronisation between different metadata standards that apply to data found in consumer cameras. IPTC and PLUS note that the general principles outlined in the Guidelines can be applied to all professional-level metadata. IPTC Managing Director Michael Steidl said of the initiative, "Image producers and users are frustrated when metadata disappears between applications, or appears in a different field. At the IPTC PhotoMetadata Conference this summer we identified the need for dialogue with developers. This paper is a huge step forward, and we hope to see further updates which extend to all professional metadata. In the meantime we urge all developers to read and act upon the recommendations in the paper." Jeff Sedlik, President & CEO of the PLUS Coalition, said, "The Metadata Working Group is addressing issues vital to the communication and preservation of metadata, which is critical in implementing the IPTC and PLUS standards. We join IPTC in supporting the adoption of the Guidelines, and look forward to working closely with the Working Group when they begin to address professional metadata issues." The full statement of IPTC and PLUS can be retrieved from www.iptc.org/goto?mwg2008 About IPTC The IPTC, based in London, UK, is a consortium of the world's major news agencies, news publishers and news industry vendors. It develops and maintains technical standards for improved news exchange that are used by virtually every major news organization in the world. Information on all IPTC standards such as the new family of IPTC G2-Standards, the existing NewsML 1, NITF, SportsML, IIM standards and the NewsCodes together with a list of existing members and information on how to join is available at http://www.iptc.org For more information contact Michael Steidl, office at iptc.org About the PLUS Coalition The PLUS Coalition, an international non-profit organization, has developed the Picture Licensing Universal System (PLUS), a comprehensive system of standards that simplifies and facilitates the communication and management of image rights. PLUS is a collaboration between major stakeholders in all industries involved in creating, distributing, using and preserving images. PLUS supports multi-lingual use, global commerce and the preservation and exchange of cultural heritage. Learn more about PLUS at www.usePLUS.org For more information contact Jeff Sedlik, info at usePLUS.org From akeshet at imj.org.il Sun Oct 26 09:40:57 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Sun, 26 Oct 2008 19:40:57 +0200 Subject: [MCN-L] IP SIG et al.: Copyright & Politics Don't Mix Message-ID: <149FDECF7500014B85D070C43C708BE703E64C84@mail3.imj.org.il> Lawrence Lessig op-ed in the NY Times, in case anyone missed it: Copyright and Politics Don?t Mix http://www.nytimes.com/2008/10/21/opinion/21lessig.html?partner=permalink&ex From akeshet at imj.org.il Sun Oct 26 10:31:59 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Sun, 26 Oct 2008 20:31:59 +0200 Subject: [MCN-L] Correction: IP SIG at MCN 2008 - PLUS and Metadata Group Guidelines Message-ID: <149FDECF7500014B85D070C43C708BE703E64C89@mail3.imj.org.il> Sorry - make that Thursday, Nov. 13 at 12:00 ! ________________________________ ???: mcn-l-bounces at mcn.edu ??? akeshet at imj.org.il ????: ? 26/10/2008 18:00 ??: mcn-l at mcn.edu ????: [MCN-L] IP SIG at MCN 2008 - PLUS and Metadata Group Guidelines The MCN IP SIG meeting will be held at MCN 2008 on Friday Nov. 14 at 13:00 We are pleased to host a short presentation and discussion on the PLUS Coalition initiative and the Metadata Working Group guidelines (see below). Open to all -- look forward to seeing you there! Amalyah Keshet Alan Newman ----------------------------------------------------------------------- IPTC and PLUS welcome Metadata Group Guidelines London (England), 10 October 2008 -- The International Press Telecommunications Council and the PLUS Coalition have welcomed metadata processing guidelines for software developers that were recently published by the Metadata Working Group. The Metadata Working Group (http://www.metadataworkinggroup.com) is a consortium of leading companies in the digital media industry that was formed in 2006. Adobe, Apple, Canon, Microsoft, Nokia and Sony have joined forces to produce "Guidelines for Handling Image Metadata." The goal of the group is to increase interoperability of digital image metadata across all software, hardware and services. As creator of the IPTC Information Interchange Model (IIM), IPTC Core and IPTC Extension image metadata standards, IPTC has a stake in this work. The IPTC document published this summer, "Persisting Technical Photo Metadata," called for the preservation of all metadata between systems, which would increase workflow productivity and automation. As creator of the PLUS Standards (Picture Licensing Universal System), the PLUS Coalition also has a stake in this work. PLUS has established universal standards for communicating image rights metadata. IPTC is a PLUS Coalition member and participated in the development of the PLUS standards. The Metadata Working Group's Guidelines address issues of synchronisation between different metadata standards that apply to data found in consumer cameras. IPTC and PLUS note that the general principles outlined in the Guidelines can be applied to all professional-level metadata. IPTC Managing Director Michael Steidl said of the initiative, "Image producers and users are frustrated when metadata disappears between applications, or appears in a different field. At the IPTC PhotoMetadata Conference this summer we identified the need for dialogue with developers. This paper is a huge step forward, and we hope to see further updates which extend to all professional metadata. In the meantime we urge all developers to read and act upon the recommendations in the paper." Jeff Sedlik, President & CEO of the PLUS Coalition, said, "The Metadata Working Group is addressing issues vital to the communication and preservation of metadata, which is critical in implementing the IPTC and PLUS standards. We join IPTC in supporting the adoption of the Guidelines, and look forward to working closely with the Working Group when they begin to address professional metadata issues." The full statement of IPTC and PLUS can be retrieved from www.iptc.org/goto?mwg2008 About IPTC The IPTC, based in London, UK, is a consortium of the world's major news agencies, news publishers and news industry vendors. It develops and maintains technical standards for improved news exchange that are used by virtually every major news organization in the world. Information on all IPTC standards such as the new family of IPTC G2-Standards, the existing NewsML 1, NITF, SportsML, IIM standards and the NewsCodes together with a list of existing members and information on how to join is available at http://www.iptc.org For more information contact Michael Steidl, office at iptc.org About the PLUS Coalition The PLUS Coalition, an international non-profit organization, has developed the Picture Licensing Universal System (PLUS), a comprehensive system of standards that simplifies and facilitates the communication and management of image rights. PLUS is a collaboration between major stakeholders in all industries involved in creating, distributing, using and preserving images. PLUS supports multi-lingual use, global commerce and the preservation and exchange of cultural heritage. Learn more about PLUS at www.usePLUS.org For more information contact Jeff Sedlik, info at usePLUS.org _______________________________________________ You are currently subscribed to mcn-l, the listserv of the Museum Computer Network (http://www.mcn.edu) To post to this list, send messages to: mcn-l at mcn.edu To unsubscribe or change mcn-l delivery options visit: http://toronto.mediatrope.com/mailman/listinfo/mcn-l From akeshet at imj.org.il Mon Oct 27 20:57:38 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Tue, 28 Oct 2008 06:57:38 +0200 Subject: [MCN-L] IP SIG: 10 Years of Digital Millennium Copyright Act Message-ID: <149FDECF7500014B85D070C43C708BE703E64C9E@mail3.imj.org.il> Note, below, a video interview with Prof. Peter Jaszi, who will participate in the panel "Second Lives: Copyright in Virtual Worlds" at MCN 2008. Amalyah Keshet Chair, MCN IP SIG ________________________________ For immediate release October 27, 2008 Public Knowledge ?Celebrates? 10 Years of Digital Millennium Copyright Act This week marks the 10th anniversary of the Digital Millennium Copyright Act (DMCA), and Public Knowledge is making certain the occasion is properly observed. Starting today, and continuing through the week, PK staff will have a series of posts to our policy blog exploring various aspects of ?10 Years of the DMCA.? The first one, by Rashmi Rangnath, is up today at http://www.publicknowledge.org/node/1815. But that?s not all. Through the week, we will also have a series of video interviews with people who have experienced the DMCA?s restrictions and limitations. Our first video, with Vijay Raghavan, an entrepreneur put out of business by the DMCA, is posted as well. It?s at http://www.publicknowledge.org/node/1816. Other videos lined up for the week include interviews with Mark Richert, Director of Public Policy, American Foundation for the Blind; Peter Decherney, Assistant Professor of Cinema Studies and English, University of Pennsylvania; and Peter Jaszi, Professor of Law, Washington College of Law, American University. They all have fascinating stories to tell. _____________________________________________________________________________ Public Knowledge is a Washington, D.C.-based public interest group working to defend citizens? rights in the emerging digital culture. More information available is available at: http://www.publicknowledge.org From akeshet at imj.org.il Tue Oct 28 01:36:53 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Tue, 28 Oct 2008 11:36:53 +0200 Subject: [MCN-L] IP SIG et al: Digital Scholarship, Author's Rights, Tout de Suite Message-ID: <149FDECF7500014B85D070C43C708BE7A66293@mail3.imj.org.il> For all of the "journal article authors" amongst us: Author's Rights, Tout de Suite, the latest Digital Scholarship publication, is designed to give journal article authors a quick introduction to key aspects of author's rights and to foster further exploration of this topic though liberal use of relevant references to online documents and links to pertinent Web sites. http://www.digital-scholarship.org/ts/authorrights.pdf It is under a Creative Commons Attribution-Noncommercial 3.0 United States License, and it can be freely used for any noncommercial purpose, including derivative works, in accordance with the license. http://creativecommons.org/licenses/by-nc/3.0/us/ The prior publication in the Tout de Suite series, Institutional Repositories, Tout de Suite, is also available. http://www.digital-scholarship.org/ts/irtoutsuite.pdf Best Regards, Charles Charles W. Bailey, Jr. Publisher, Digital Scholarship http://www.digital-scholarship.org/ From akeshet at imj.org.il Tue Oct 28 06:47:36 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Tue, 28 Oct 2008 16:47:36 +0200 Subject: [MCN-L] Woices Message-ID: <149FDECF7500014B85D070C43C708BE7A662AB@mail3.imj.org.il> Thought this might be of interest to some out there in the MCN "echosphere": -----Original Message----------- From: Peter Brantley ...Woices is a beta site that permits people to publish geo-encoded verbal notes for people to rediscover later. woices can be grouped together to form a "walk" in a set sequence, in a physical location. phone support lacking, but coming soon. elements of this have been seen in other services, but this is a step towards a compelling service. as a publisher, or a library, or a museum - think about how to establish a new kind of presence for readers. extremely extremely cool. see the help page for the best introduction - http://woices.com/help _______________________________________ From akeshet at imj.org.il Tue Oct 28 06:59:51 2008 From: akeshet at imj.org.il (akeshet at imj.org.il) Date: Tue, 28 Oct 2008 16:59:51 +0200 Subject: [MCN-L] FW: Google, Authors, Publishers Announce Agreement on Book Search Message-ID: <149FDECF7500014B85D070C43C708BE7A662B0@mail3.imj.org.il> "Once this agreement has been approved, you'll be able to purchase full online access to millions of books. This means you can read an entire book from any Internet-connected computer, simply by logging in to your Book Search account, and it will remain on your electronic bookshelf, so you can come back and access it whenever you want in the future." Bottom line: laptop (and iPhone?)-based alternative to Amazon / the Kindle? ------------------------------------------------------- Dear Friends, This morning Google, the Authors Guild, and the Association of American Publishers (AAP) are announcing a major settlement agreement on behalf of a broad class of authors and publishers worldwide. The agreement would resolve the class-action lawsuit brought by book authors and the Authors Guild, as well as a separate lawsuit filed by five large publishers as representatives of the AAP's membership. We're excited because the settlement agreement will expand online access to millions of in-copyright books and other written materials in the U.S. A website with more details about the agreement is now online at: http://books.google.com/googlebooks/agreement/index.html A good summary of the agreement is available here: http://books.google.com/googlebooks/agreement/us_exec_summary.pdf And for those who own or think they may own a U.S. copyright interest implicated by the agreement, there is more information about the agreement at the claims settlement site: http://books.google.com/booksrightsholders Just to review the bidding: In 2004, Google launched Book Search in order to make the world's books easier to find. Since then, we have partnered with over twenty thousand rightsholders in order to digitize books and make them available for limited previews by users. Libraries also provide Google with books to digitize, including many books that are in-copyright but out-of-print and traditionally difficult to access. Book Search has always been able to show readers public domain works in their entirety. And we've provided substantial previews where we have the agreement of rightsholders. But for in-copyright books where we did not have an agreement, we have not been able to show more than bibliographic information and very limited "snippets" of text. If approved by the court, the agreement announced today would provide: * More Access to Out-of-Print Books: Readers in the US will be able to search, preview, and purchase millions of out-of-print books through Google Book Search. * A New Market for Authors and Publishers: Rightsholders will have new ways to make their books available and new revenue opportunities, while retaining control over use of their works. * Benefits to Libraries and Universities: Libraries and universities will have the opportunity to provide patrons and students with full, online access to an enormous collection of books. We know that the details matter, and we'd be delighted to answer any further questions that folks on the list might have, so please feel free to reach out to us. We'll also look for some opportunities to provide a fuller briefing for those interested. Thanks, Alan Alan Davidson Director, Public Policy and Government Affairs, Google 1101 New York Avenue NW, Second Floor Washington, D.C. 20005 | 202.346.1220 _______________________________________________ From A-Newman at NGA.GOV Tue Oct 28 08:30:12 2008 From: A-Newman at NGA.GOV (Newman, Alan) Date: Tue, 28 Oct 2008 12:30:12 -0400 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: <48FC995B.0319.00B6.0@getty.edu> Message-ID: There was a question raised about whether to include color bars while digitizing aged photo albums and Stanley Smith posted a reply. I asked Ken Fleisher of my staff at the National Gallery (who does not belong to this list) to prepare a comment to Stanley to post. This is a core topic of an upcoming Mellon benchmark grant to the RIT School of Printing and Dr. Franziska Frey who will work with some of the museums in ImageMuse. Please come to the ImageMuse panel at MCN for more discussion. Thanks, Alan Newman. Stanley?s comments are preceded by > and Ken?s replies follow each of the comments. > Sent: Mon 10/20/2008 5:44 PM > > Subject: Re: [MCN-L] photography, digitization, and a color/grey card? > > A couple of comments regarding the use of grayscale and color bars: > > - due to differences between dyes and/or pigments used to make the > color bars and the materials used to produce the actual artwork, > accurately rendering the grayscales in a particular image may NOT > produce the most accurate rendition of the artwork itself. I think it's important to begin introducing the distinction into common usage between scene-referred encoding and output-referred encoding (see definitions at the end of this message). The idea of accurately reproducing "any" target that was captured with the artwork on a printed output, even if there were not issues associated with metamerism (which there are), is in my opinion an incorrect goal to begin with. To accurately capture a target in the digital image implies a scene-referred encoding and is a valid goal in artwork reproduction. By recording the scene information, you have the opportunity to know more about the object itself and to properly transform it as necessary for various types of output. On the other hand, to accurately reproduce that same target on a printed output implies that the goal is to transfer the scene colorimetry to the printed page. This is an incorrect goal because to make the best possible reproduction, it will be necessary to alter the tone reproduction curve (TRC), if nothing else, to reflect the differences in viewing condition associated with a printed image on a white page. For example, there is often a more limited gamut on the printed image so a TRC adjustment will be needed to compensate for the difference in appearance, the white page surrounding the image makes further TRC adjustment necessary, the level of illumination for viewing the printed image is likely different from how the artwork was illuminated during photography which, once again, means additional TRC adjustment is needed. With that out of the way, I have one more comment which I hope to bring into public discussion and awareness. That is the idea of creating an "accurate" reproduction . I understand why everyone says this, and I'm as guilty of it as anyone else, but the fact is that there is no single "accurate" reproduction. There are many renderings of the artwork which can be considered accurate for a given viewing condition. The appearance will be different if you view the artwork in gallery lighting versus 5000K lighting. Which is more accurate? They both are equally accurate. The same holds true even if you keep the same lighting and place the artwork in a white matte and hang it on a white wall versus using a beige matte on a dark gray wall. The artwork will have a different appearance, but both are "accurate". So which one do you reproduce? It is my hope that we will all start using the term "appearance preserving reproduction" rather than "accurate reproduction" and that we will have a defined viewing condition associated with the appearance that we are trying to reproduce. This may seem like a subtle point to some, but I feel it is an important distinction in helping remove ambiguities from our discussions. Further, and more related to the question at hand, it makes it more clear that an appearance preserving reproduction of a target is more important, and more appropriate, than a colorimetrically accurate one. Back to the comment above. It is correct to state that due to differences in pigments, the use of a color target to capture scene-referred colorimetry is a bad idea and will only have limited success. Therefore it is not recommended to use a color target for any capture (Note we are talking about standard targets like the ColorChecker--a case could be made for specialized targets that are known to be spectrally relevant to the object being photographed). On the other hand, an idea I adapted from the conservation guidelines is to include a single color patch simply to indicate that the capture is in color rather than grayscale. With regard to a grayscale target, something like the Kodak Q-13 is not appropriate for capture because it is not made from spectrally neutral materials (it is printed on photographic paper). However a set of step wedges that are spectrally neutral, such as the gray patches of the GretagMacbeth ColorChecker, are very useful to include when capturing artwork, assuming you are aiming for a scene-referred image. To take this to the logical conclusion, a capture of the gray steps of a ColorChecker should NOT be reproduced so that the TRC matches the original scene. In this case, the TRC needs to be adjusted for output to produce an appearance preserving reproduction and therefore I do not feel these gray steps should be included on output. > - If there is some visual editing to tweak color into place (hopefully > under calibrated viewing conditions with direct comparisons to the > original artwork), then another operator who may be printing the image > later will most likely UNDO those edits if they assume that the image is > rendered correctly by printing a neutral grayscale. This is exactly correct, even if we are only talking about spectrally neutral gray patches. Due to metamerism (i.e. the difference in pigments and the difference between how a camera/scanner sees color versus how humans see color), it is almost always necessary to make color adjustments to a digital capture of artwork, even when using the common methods of calibration, and these corrections will skew the patches of a target from their original values. In my opinion, it is still important to capture the spectrally neutral gray steps, but they should only be used a guide for tone reproduction in the scene-referred image. They should not be printed on the output and they should not be used to judge neutrality or correctness of color in the image. > - There is some interest in the production of "virtual" grayscales and > color bars. These would be digitally dropped into the edited and color > corrected image with the same colorspace as the original image. Then > other users would achieve better color when they match the grayscale and > color bars. I am still undecided on the usefulness of this approach, but I am keeping an open mind. On the one hand, if the virtual grayscales look greenish on your print, then this can be a very good indicator that something went wrong. However, there are many things that can go wrong with the color and yet still maintain perfectly neutral grayscales with correct TRC. Therefore, making the assumption that "if the grayscale looks correct on your print then the color is correctly reproduced", this can be misleading and give you a false sense of security. It is my opinion that most people will end up using this as a definitive test for accuracy, rather than only as "one" test for identifying a possible problem. In other words, it can only indicate when something is wrong but will not confirm that everything is right. To understand my point, open an image in Photoshop and convert to sRGB. Add a grayscale, or gradient (it doesn't matter). Now assign (don't convert, "assign") a different colorspace such as ProPhoto RGB. Do you see how the colors have changed radically but the grayscale remains neutral? Yes, the tones shifted slightly, but if the colorspace has the same TRC as sRGB, such as Adobe RGB (1998), you won't even see the tones shift, yet the color is now incorrect. In this case, including "virtual" color bars might be helpful, but I'm also not convinced of this use either, since necessary adjustments to the output will depend on the color gamut and other characteristics of the output device and will again skew the target colors from their original values. This is really getting into the realm of process control now, which may be too much to ask of a limited set of "virtual" color patches. If you go this route, I recommend using a carefully selected set of colors such as the FOGRA media wedge (you must purchase this) instead of the ColorChecker colors. I do, however, see some potential in using artificial color bars, along with gray bars, as a guide to correct reproduction, but it will require an educated user on the printing end who understands how to correctly measure and interpret the results. This is not a visual assessment--the color patches must be measured and compared to the expected Lab values. When the average delta-E is within a defined tolerance, the print is considered to pass. > - If it is your decision to incorporate grayscales and color bars, then > it is really not good practice to only do it once for a "batch". It is > too difficult to mate up the correct grayscales with subsequent images-- > especially years hence. Put them in every image. I agree with this statement completely. It's not hard to include the target on every image, so why not? It's my recommendation however, to include only spectrally neutral gray patches and not more than one color patch (which is not to be used for judging color accuracy) and to only use them as I described above. ========================== The following definitions are taken from the document "ICC_white_paper5glossary.pdf" which is found at output-referred image data image data which represents the colour-space coordinates of the elements of an image that has undergone colour rendering appropriate for a specified real or virtual output device and viewing conditions. [ISO 12231] NOTE 1 The output referred image data is referred to the specified output device and viewing conditions. A single scene can be colour rendered to a variety of output-referred representations depending on the anticipated output viewing conditions, media limitations, and/or artistic intents. NOTE 2 Output-referred image data may become the starting point for a subsequent reproduction process. For example, sRGB output-referred image data is frequently considered to be the starting point for the colour re-rendering performed by a printer designed to receive sRGB image data. scene-referred image data image data which represents estimates of the colour-space coordinates of the elements of a scene. [ISO 12231] NOTE 1 Scene-referred image data can be determined from raw DSC image data before colour rendering is performed. Generally, DSCs do not write scene-referred image data in image files, but some may do so in a special mode intended for this purpose. Typically, DSCs write standard output-referred image data where colour rendering has already been performed. NOTE 2 Scene-referred image data typically represents relative scene colorimetry estimates. Absolute scene colorimetry estimates may be calculated using a scaling factor. The scaling factor can be derived from additional information such as the image OECF, FNumber or ApertureValue, and ExposureTime or ShutterSpeedValue tags. NOTE 3 Scene-referred image data may contain inaccuracies due to the dynamic range limitations of the capture device, noise from various sources, quantization, optical blurring and flare that are not corrected for, and colour analysis errors due to capture device metamerism. In some cases, these sources of inaccuracy can be significant. ISO 17321-1 specifies a DSC/SMI (DSC Sensitivity Metamerism Index), which can be used to estimate the amount of inaccuracy resulting from capture device metamerism. NOTE 4 The transformation from raw DSC image data to scene-referred image data depends on the relative adopted whites selected for the scene and the colour space used to encode the image data. If the chosen scene adopted white is inappropriate, additional errors will be introduced into the scene-referred image data. These errors may be correctable if the transformation used to produce the scene-referred image data is known, and the colour encoding used for the incorrect scene referred image data has adequate precision and dynamic range. NOTE 5 Standard methods for the calculation of scene-referred image data from raw DSC image data will be specified in ISO 17321-2. NOTE 6 The scene may correspond to an actual view of the natural world, or a computer-generated simulation of such a view. It may also correspond to a modified scene determined by applying modifications to an original scene to produce some different desired scene. Any such scene modifications should leave the image in a scene-referred image state, and should be done in the context of an expected colour rendering transform. ========================== I welcome any and all comments. I hope this will become a useful discussion. Ken Fleisher, Photographer National Gallery of Art On 10/20/08 5:44 PM, "Stanley Smith" wrote: A couple of comments regarding the use of grayscale and color bars: ? due to differences between dyes and/or pigments used to make the color bars and the materials used to produce the actual artwork, accurately rendering the grayscales in a particular image may NOT produce the most accurate rendition of the artwork itself. ? If there is some visual editing to tweak color into place (hopefully under calibrated viewing conditions with direct comparisons to the original artwork), then another operator who may be printing the image later will most likely UNDO those edits if they assume that the image is rendered correctly by printing a neutral grayscale. ? There is some interest in the production of "virtual" grayscales and color bars. These would be digitally dropped into the edited and color corrected image with the same colorspace as the original image. Then other users would achieve better color when they match the grayscale and color bars. ? If it is your decision to incorporate grayscales and color bars, then it is really not good practice to only do it once for a "batch". It is too difficult to mate up the correct grayscales with subsequent images-- especially years hence. Put them in every image. Stanley Smith Manager, Imaging Services J. Paul Getty Museum From esinaiko at collegeart.org Tue Oct 28 14:30:44 2008 From: esinaiko at collegeart.org (Eve Sinaiko) Date: Tue, 28 Oct 2008 18:30:44 -0400 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: References: <48FC995B.0319.00B6.0@getty.edu> Message-ID: Imperfect as a color bar or grayscale may be, I would put in an ardent plea for their inclusion in all digital scans, whether of old rescanned transparencies or new scans of artworks. I speak on behalf of the publishers and printers who have been left with no visual cues to guide color correction on press. The quality of color printing from digital scans fluctuates wildly because the skilled eyes of editors and book designers have no guide. However good the embedded digital information may be, there is no substitute for looking at a color bar and grayscale to see if the press proof is running too warm or cold, too contrasty, or too saturated. Not to mention that digital presses are calibrated as variably as computer monitors, and most printers use standard settings. Every art publisher I know is deeply unhappy with the shift from transparencies to digital scans for this reason. We may love the financial savings in using digital files of art images at the design and layout stage, but we have completely lost control of the color process, and are dependent on the guesswork of printers. To be clear: The grayscale and color bar are normally not guides for the printer but for the editor and/or designer who checks the proofs. The color correction is made by them, and the printer follows those directions. Printers typically do not consult the color bar or grayscale, as they use their own standard settings at the proof stage. Comparison of a color proof with the original artwork is a vanished concept. Today's production budgets, schedules, and methods have done away with that step, except perhaps within a museum's own publication program. The digital scans made of artworks by museums are used not only internally, but also by myriad outside publishers. I will dodge the interesting but unresolvable question of what publishers mean by "accurate" color printing. To quote Justice Potter Stewart in another context, we know it when we see it. Regards, Eve Sinaiko Director of Publications College Art Association From jfevans at Princeton.EDU Wed Oct 29 06:08:08 2008 From: jfevans at Princeton.EDU (Jeff Evans) Date: Wed, 29 Oct 2008 10:08:08 -0400 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: Message-ID: With apologies to Eve, please consider the following: Regarding the second part of her email; If your budget allows you to use a good commercial printer who has printed art publications before, you will have exceptional results from an entirely digital workflow. True, we rarely see press-proofs any more, but that is due to the fact that color seps and printers have been able to produce very accurate guide proofs from newer generation studio printers. Capture software as well as CMYK printing is moving forward very quickly and at this point has surpassed film, allowing us to control color and ink densities like never before. Image quality control is far more ?in front of the curtain? now as we all see the images immediately at every point of the workflow. In some cases your printer may provide on-line services, allowing you to soft proof images and make edits on the fly (all before you go on press for quality control.) JEFF Jeffrey Evans Digital Imaging Specialist Princeton University Art Museum 609.258.8579 On 10/28/08 6:30 PM, "Eve Sinaiko" wrote: > Imperfect as a color bar or grayscale may be, I would put in an ardent > plea for their inclusion in all digital scans, whether of old rescanned > transparencies or new scans of artworks. I speak on behalf of the > publishers and printers who have been left with no visual cues to guide > color correction on press. > > The quality of color printing from digital scans fluctuates wildly > because the skilled eyes of editors and book designers have no guide. > However good the embedded digital information may be, there is no > substitute for looking at a color bar and grayscale to see if the press > proof is running too warm or cold, too contrasty, or too saturated. Not > to mention that digital presses are calibrated as variably as computer > monitors, and most printers use standard settings. > > Every art publisher I know is deeply unhappy with the shift from > transparencies to digital scans for this reason. We may love the > financial savings in using digital files of art images at the design and > layout stage, but we have completely lost control of the color process, > and are dependent on the guesswork of printers. > > To be clear: The grayscale and color bar are normally not guides for the > printer but for the editor and/or designer who checks the proofs. The > color correction is made by them, and the printer follows those > directions. Printers typically do not consult the color bar or > grayscale, as they use their own standard settings at the proof stage. > > Comparison of a color proof with the original artwork is a vanished > concept. Today's production budgets, schedules, and methods have done > away with that step, except perhaps within a museum's own publication > program. The digital scans made of artworks by museums are used not only > internally, but also by myriad outside publishers. > > I will dodge the interesting but unresolvable question of what > publishers mean by "accurate" color printing. To quote Justice Potter > Stewart in another context, we know it when we see it. > > Regards, > Eve Sinaiko > Director of Publications > College Art Association > > _______________________________________________ > You are currently subscribed to mcn-l, the listserv of the Museum Computer > Network (http://www.mcn.edu) > > To post to this list, send messages to: mcn-l at mcn.edu > > To unsubscribe or change mcn-l delivery options visit: > http://toronto.mediatrope.com/mailman/listinfo/mcn-l From susan at susanchun.com Wed Oct 29 08:06:04 2008 From: susan at susanchun.com (Susan Chun) Date: Wed, 29 Oct 2008 12:06:04 -0400 Subject: [MCN-L] Help steve by participating in a brief survey on social tagging Message-ID: <44C15103-67A1-4667-B696-21DA60B955CF@susanchun.com> **Please excuse duplicate messages; this request has been sent to several lists.** Dear colleagues, The steve project is concluding a two-year research project funded by the Institute of Museum and Library Services ("Investigating Social Tagging and Folksonomy in Art Museums") that considers ways in which social tagging can enhance access to online collections. One aspect of our research has included surveying museum professionals at the project's eight partner institutions about their museums' online collections, as well as about their own knowledge of and attitudes toward social tagging. We now seek responses from a larger, technology-focused, segment of the museum community to the same survey questions that were answered by the museum professionals at the steve partner institutions. Would you take 15 minutes to answer a few questions about your museum's online collection, and about social tagging? Your input will be valuable to us, and will help us to better understand the attitudes of museum professionals. Please click on the link below (or paste it into your browser) to access the survey: http://www.surveymonkey.com/s.aspx?sm=exlmYzIuQTrDRI6MO5KINg_3d_3d Thank you! The steve.museum project team ---- Your Privacy Responses to the survey will be analysed by research project staff and shared with project participants. Your privacy as a survey respondent will be respected. Responses to the survey will be analyzed anonymously, and in the aggregate. Individual responses will not be linked to known people; individuals will not be identified in distributed analyses, although they may be characterized by department or job function. Research Results The steve project's research results are available on the project web site at www.steve.museum. Final research results, including information about this survey, are scheduled to be released in late 2008-early 2009. For more information about the project, please visit our web site or contact us at steve at steve.museum. From mmisunas at sfmoma.org Wed Oct 29 08:16:13 2008 From: mmisunas at sfmoma.org (Misunas, Marla) Date: Wed, 29 Oct 2008 09:16:13 -0700 Subject: [MCN-L] MCN Silent Auction 2008: donate and win! Message-ID: <45058F8692E66640955EC9882C7C4843047F1A79@monet.SFMOMA.ORG> Hello all, The MCN annual meeting in Washington DC is just around the corner! While you're thinking about what to donate to the auction, let me entice you with prizes. The Silent Auction Committee will be awarding a fabulous prize to the donor whose auction item goes for the highest price, and it could be you! Once all the winning bids are tabulated, the prize will go to the person whose donation brought in the most money for our Scholarship Fund. But wait, there's more! The Committee will also award a prize for the Most Unusual Silent Auction Item. Given our population of arty and crafty folks, this should no problem, right? Get out that thinking beanie and bring us something wonderful, maybe even the new Mr. T Chia Head! Show off your creativity and help us raise some bucks! We're looking for photography, painting, prints, knitted items, recycled yogurt container sculpture-there are no limits! Well, almost none. Items of any sort--new or old, seriously useful or cheerfully unrelated to museum work--that may be attractive to bidders (and carried by airline passengers) are encouraged. Exhibition catalogues and other institutional publications are always popular. SFMOMA is donating some much-coveted street banners, what will your museum donate? Or what will you donate? We assume museums donate auction items but many of us purchase & donate items ourselves-it's a good tax deduction. Think about bringing museum bags, clothing, and other souvenirs. Donations need not be tangible things--some popular lots in recent years have consisted of services or special half-price registration for professional events. Got a fabulous show coming up at your museum next year? Donate event tickets! You don't even need to have the tickets in hand, just write up something to put on the auction table. Keep an eye on the Conference Events page on mcn.edu for more updates as they come in. http://www.mcn.edu/conferences/index.asp?subkey=2180 Want to see your donation featured on the page? Send me an image file! As usual, this year's auction benefits our Scholarship Program, helping emerging museum professionals attend our conference by providing registration and funds towards expenses. We would like to increase their numbers next year, but we can only do it with your help. Help us surpass this year's goal of $1500! Auction items will be accepted at the Conference Registration Desk on Wednesday, and Thursday until noon. You may bid on items throughout the day Thursday, until tables in the Vendor Hall close at 5:30. If you would like to see your item featured on the Events page of the website, send me a photo of it! Here's a sample: http://www.mcn.edu/conferences/index.asp?subkey=2180 See you soon! Marla Misunas Collections Information Manager Collections Information and Access San Francisco Museum of Modern Art 415-357-4186 (voice) Check out SFMOMA Collections Online www.sfmoma.org __________________________________ Past President, Museum Computer Network http://www.mcn.edu The information contained in this electronic mail message (including any attachments) is confidential information that may be covered by the Electronic Communications Privacy Act, 18 USC Sections 2510-2521, intended only for the use of the individual or entity named above, and may be privileged. If the reader of this message is not the intended recipient, you are hereby notified that any dissemination, distribution, or copying of this communication, or the taking of any action based on it, is strictly prohibited. If you have received this communication in error, please immediately notify me and delete the original message. Thank you From SSmith at getty.edu Wed Oct 29 12:27:37 2008 From: SSmith at getty.edu (Stanley Smith) Date: Wed, 29 Oct 2008 13:27:37 -0700 Subject: [MCN-L] DM SIG an the MCN conference Message-ID: <490864C8.0319.00B6.0@getty.edu> The Digital Media SIG will be meeting Thursday from 6-7 at the MCN conference, but I wanted to alert members to another opportunity to shmooze further with other imaging geeks. Alan Newman is hosting an ImageMuse Business Meeting and Lunch following his panel on Friday. The lunch will be at the National Gallery of Art, East Building 4th floor conference room, between 1.00-3.00pm. If you are interested in attending you must RSVP by November 5 directly to Alan at a-newman at nga.gov. A meeting agenda will follow. Stanley Smith Manager, Imaging Services J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Los Angeles, CA 90049-1687 (310) 440-7286 From dzorich at mindspring.com Thu Oct 30 05:29:32 2008 From: dzorich at mindspring.com (Diane M. Zorich) Date: Thu, 30 Oct 2008 09:29:32 -0400 Subject: [MCN-L] A summary of the Google Books Search settlement Message-ID: If you're at all interested in how Google Books is about to change in response to the new settlement reached between Google and authors/publishers, you should read Arnold Arcolio's (of RLG) insightful summary and analysis posted on the Hanging Together blog (http://hangingtogether.org/?p=541). No stone seems left unturned. A personal favorite: (under a subsection entitled, "Preview Use" in a section on "Display Uses") In response to a user's search, Google may allow the user to view up to 20% of a Book (no more than five adjacent pages) before making a purchase decision, but not to copy/paste, annotate or print any pages from the Book ("Standard Preview"). For Books of fiction, Google will block the last 5% of the Book (or a minimum of the final fifteen pages of the Book)... Don't want to give away those endings ; ) Diane -- Diane M. Zorich 113 Gallup Road Princeton, NJ 08542 USA Voice: 609-252-1606 Fax: 609-252-1607 Email: dzorich at mindspring.com or dianezorich at comcast.net From ELANZI at email.smith.edu Thu Oct 30 05:29:41 2008 From: ELANZI at email.smith.edu (Elisa Lanzi) Date: Thu, 30 Oct 2008 09:29:41 -0400 Subject: [MCN-L] Visual Resources Association Foundation Receives Grant from The Getty Foundation Message-ID: <49097E85.B24A.0054.0@email.smith.edu> **Please excuse duplicate messages; this request has been sent to several lists.** Dear MCN colleagues, The Visual Resources Association Foundation is pleased to announce a $26,400 grant from The Getty Foundation to support the initiative, "Implementing CCO: Standards and Best Practices." The grant is intended to advance development of a de-facto standard for contributing cultural and natural history collections to union catalogs and digital repositories. Part I will support a strategic and dissemination meeting for the CDWA-Lite Working Group and Cataloging Cultural Objects (CCO) representatives with the goal of unveiling a new international schema that will replace CDWA-Lite and Museumdat. The CDWA-Lite schema is based on the Categories for the Description of Works of Art. The CCO representation includes a member of the Visual Resources Association Data Standards Committee to ensure that the new schema is compatible with the VRA Core 4.0. The meeting is not only to give CCO stakeholders an opportunity to respond to the new schema, but also to take advantage of face-to-face discussions with one another and tackle CCO specific business. The CCO specific business includes developing a three-year strategic plan for implementing CCO practice among contributors of cultural and natural history collections to union catalogs and digital repositories. The strategic planning and dissemination meeting will take place on November 15, 2008 (concurrent with the Museum Computer Network (MCN) annual conference) in Washington, D.C. Part II of this endeavor is to work on how best to integrate CCO with this new schema and standards-based model, especially in how it will be implemented by vendors, or work in conjunction with existing standards. For CCO, this would entail making portions of the printed Guide more accessible through the CCO Commons web site, and to develop prototype online training tools on how to use the guidelines in conjunction with these new and existing standards. These prototypes may be used in other training contexts in the museum and visual resources community (e.g., the ARLIS/VRAF Summer Educational Institute for Visual Resources and Image Management). A representative from the Summer Institute Advisory Group will be attending the meeting as part of the CCO representation. The mission of the Visual Resources Foundation is to advance knowledge in the field of visual resources and image management and to provide educational and training opportunities in support of broad access to cultural information in the digital age. The Foundation advances awareness of important issues for digital information management; encourages the application of professional standards, innovative technology, and metadata cataloging protocols; facilitates workplace training; and promotes awareness of intellectual property rights and copyright issues. The VRA Foundation supports a range of educational offerings to help ensure that such information reaches a diverse and global audience. Additional information is available at http://www.vrafoundation.org The Getty Foundation provides support to individuals and institutions committed to advancing the understanding and preservation of the visual arts locally and throughout the world. Through strategic grants and programs, the Los Angeles-based Foundation strengthens art history as a global discipline, increases access to collections, promotes the interdisciplinary practice of conservation, and develops current and future leaders in the visual arts. The Foundation fulfills the philanthropic mission of the J. Paul Getty Trust, an international cultural institution devoted to the visual arts. Additional information is available at http://www.getty.edu/foundation For more information about Cataloging Cultural Objects, contact the CCO co-chairs, Elisa Lanzi at elanzi at email.smith.edu or Ann Whiteside at awhites at mit.edu. CCO http://www.vrafoundation.org/ccoweb/index.htm CDWA-Lite http://www.getty.edu/research/conducting_research/standards/cdwa/cdwalite.html Museum-dat http://www.museumdat.org/index.php?ln=en Museum Computer Network http://www.mcn.edu/ ARLIS/VRAF Summer Educational Institute for Visual Resources and Image Management http://www.vraweb.org/seiweb/ VRA Core 4.0 http://www.vraweb.org/projects/vracore4/index.html Regards, Elisa Elisa Lanzi Director, Imaging Center Smith College Dept. of Art Hillyer Hall 22 Elm Street Northampton, MA 01063 VOICE: 413.585.3106 elanzi at email.smith.edu FAX: 413.585.3119 http://www.smith.edu/imaging From BBAILES at themorgan.org Thu Oct 30 05:30:56 2008 From: BBAILES at themorgan.org (Benjamin Bailes) Date: Thu, 30 Oct 2008 09:30:56 -0400 Subject: [MCN-L] A summary of the Google Books Search settlement Message-ID: I will be out of the office from October 30 - November 4. I will answer email messages when I return. If you require immediate attention, please contact Josh Feldman jfeldman at themorgan.org or x346 Thanks. Benjamin Bailes From esinaiko at collegeart.org Thu Oct 30 08:29:35 2008 From: esinaiko at collegeart.org (Eve Sinaiko) Date: Thu, 30 Oct 2008 12:29:35 -0400 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: References: Message-ID: > With apologies to Eve, please consider the following: > > Regarding the second part of her email; If your budget allows you to use a > good commercial printer who has printed art publications before, you will > have exceptional results from an entirely digital workflow. True, we rarely > see press-proofs any more, but that is due to the fact that color seps and > printers have been able to produce very accurate guide proofs from newer > generation studio printers. All I can say is that this puts the success of the color printing entirely in the hands of a pressman who may or may not be paying attention. It removes all hope of the editor and designer (the people with real expertise and who really care about the color accuracy) having any opportunity to intervene and improve color. We cannot require a printer to improve color if we cannot point to anything to show that the color is less than accurate. If museums are comfortable with this, then they should by all means remove the color bar and grayscale. But the publishers will then be in an excellent position to say, "Sorry, we printed what we were given." In my experience, museums expect more attention to color quality on the part of publishers. Absent a grayscale and color bar, our hands are tied. Also, of course, not all publishers work with the top printers, nor should museums expect that optimum printing conditions will be the norm. For example, most printers who know color printing well are working for the ad industry, where color standards are very different (e.g., maximum color saturation is desirable). There are almost no printers left who specialize in art printing-and they are mostly in Italy and Japan, which are beyond the budgets of most art publishers today. Lastly, newer generation studio printers are great-I hope they get installed soon. But in the meantime we are in a crucial transition period in which many (most) publishers and printers are not working with the latest equipment. I daresay smaller publishers will be in that position for a long time to come. > Capture software as well as CMYK printing is moving forward very quickly and > at this point has surpassed film, allowing us to control color and ink > densities like never before. > Image quality control is far more ?in front of the curtain? now as we all > see the images immediately at every point of the workflow. In some cases > your printer may provide on-line services, allowing you to soft proof images > and make edits on the fly (all before you go on press for quality control.) I don't dispute this, and I welcome it. Indeed, color printing has become less costly as a result. What I worry about is the blithe assumption that the tech can ensure quality, and that experienced editors and designers are not needed to take part in the process. In the past 5 years I have seen a sharp decline in much color reproduction of artworks because we are working with digital scans that have no visual guideposts. Every art publisher I know is distressed at this trend. Regards, Eve Sinaiko CAA From ESOOS at themorgan.org Thu Oct 30 12:03:55 2008 From: ESOOS at themorgan.org (Eva Soos) Date: Thu, 30 Oct 2008 16:03:55 -0400 Subject: [MCN-L] mcn-l Digest, Vol 37, Issue 24 (Automated Reply) Message-ID: I will return to the office on Monday, November 3rd. If your message is urgent please contact Marilyn Palmer : mpalmeri at themorgan.org Eva Soos Photography and Rights The Morgan Library & Museum 225 Madison Avenue New York, NY 10016 Fax: 212 685-7913 >>> mcn-l 10/30/08 16:00 >>> Send mcn-l mailing list submissions to mcn-l at mcn.edu To subscribe or unsubscribe via the World Wide Web, visit http://toronto.mediatrope.com/mailman/listinfo/mcn-l or, via email, send a message with subject or body 'help' to mcn-l-request at mcn.edu You can reach the person managing the list at mcn-l-owner at mcn.edu When replying, please edit your Subject line so it is more specific than "Re: Contents of mcn-l digest..." Today's Topics: 1. DM SIG an the MCN conference (Stanley Smith) 2. A summary of the Google Books Search settlement (Diane M. Zorich) 3. Visual Resources Association Foundation Receives Grant from The Getty Foundation (Elisa Lanzi) 4. Re: A summary of the Google Books Search settlement (Benjamin Bailes) 5. Re: photography, digitization, and a color/grey card? (Eve Sinaiko) ---------------------------------------------------------------------- Message: 1 Date: Wed, 29 Oct 2008 13:27:37 -0700 From: "Stanley Smith" Subject: [MCN-L] DM SIG an the MCN conference To: Message-ID: <490864C8.0319.00B6.0 at getty.edu> Content-Type: text/plain; charset=US-ASCII The Digital Media SIG will be meeting Thursday from 6-7 at the MCN conference, but I wanted to alert members to another opportunity to shmooze further with other imaging geeks. Alan Newman is hosting an ImageMuse Business Meeting and Lunch following his panel on Friday. The lunch will be at the National Gallery of Art, East Building 4th floor conference room, between 1.00-3.00pm. If you are interested in attending you must RSVP by November 5 directly to Alan at a-newman at nga.gov. A meeting agenda will follow. Stanley Smith Manager, Imaging Services J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Los Angeles, CA 90049-1687 (310) 440-7286 ------------------------------ Message: 2 Date: Thu, 30 Oct 2008 09:29:32 -0400 From: "Diane M. Zorich" Subject: [MCN-L] A summary of the Google Books Search settlement To: mcn-l at toronto.mediatrope.com Message-ID: Content-Type: text/plain; charset="us-ascii" ; format="flowed" If you're at all interested in how Google Books is about to change in response to the new settlement reached between Google and authors/publishers, you should read Arnold Arcolio's (of RLG) insightful summary and analysis posted on the Hanging Together blog (http://hangingtogether.org/?p=541). No stone seems left unturned. A personal favorite: (under a subsection entitled, "Preview Use" in a section on "Display Uses") In response to a user's search, Google may allow the user to view up to 20% of a Book (no more than five adjacent pages) before making a purchase decision, but not to copy/paste, annotate or print any pages from the Book ("Standard Preview"). For Books of fiction, Google will block the last 5% of the Book (or a minimum of the final fifteen pages of the Book)... Don't want to give away those endings ; ) Diane -- Diane M. Zorich 113 Gallup Road Princeton, NJ 08542 USA Voice: 609-252-1606 Fax: 609-252-1607 Email: dzorich at mindspring.com or dianezorich at comcast.net ------------------------------ Message: 3 Date: Thu, 30 Oct 2008 09:29:41 -0400 From: "Elisa Lanzi" Subject: [MCN-L] Visual Resources Association Foundation Receives Grant from The Getty Foundation To: "MCN-L" Message-ID: <49097E85.B24A.0054.0 at email.smith.edu> Content-Type: text/plain; charset=US-ASCII **Please excuse duplicate messages; this request has been sent to several lists.** Dear MCN colleagues, The Visual Resources Association Foundation is pleased to announce a $26,400 grant from The Getty Foundation to support the initiative, "Implementing CCO: Standards and Best Practices." The grant is intended to advance development of a de-facto standard for contributing cultural and natural history collections to union catalogs and digital repositories. Part I will support a strategic and dissemination meeting for the CDWA-Lite Working Group and Cataloging Cultural Objects (CCO) representatives with the goal of unveiling a new international schema that will replace CDWA-Lite and Museumdat. The CDWA-Lite schema is based on the Categories for the Description of Works of Art. The CCO representation includes a member of the Visual Resources Association Data Standards Committee to ensure that the new schema is compatible with the VRA Core 4.0. The meeting is not only to give CCO stakeholders an opportunity to respond to the new schema, but also to take advantage of face-to-face discussions with one another and tackle CCO specific business. The CCO specific business includes developing a three-year strategic plan for implementing CCO practice among contributors o f cultural and natural history collections to union catalogs and digital repositories. The strategic planning and dissemination meeting will take place on November 15, 2008 (concurrent with the Museum Computer Network (MCN) annual conference) in Washington, D.C. Part II of this endeavor is to work on how best to integrate CCO with this new schema and standards-based model, especially in how it will be implemented by vendors, or work in conjunction with existing standards. For CCO, this would entail making portions of the printed Guide more accessible through the CCO Commons web site, and to develop prototype online training tools on how to use the guidelines in conjunction with these new and existing standards. These prototypes may be used in other training contexts in the museum and visual resources community (e.g., the ARLIS/VRAF Summer Educational Institute for Visual Resources and Image Management). A representative from the Summer Institute Advisory Group will be attending the meeting as part of the CCO representation. The mission of the Visual Resources Foundation is to advance knowledge in the field of visual resources and image management and to provide educational and training opportunities in support of broad access to cultural information in the digital age. The Foundation advances awareness of important issues for digital information management; encourages the application of professional standards, innovative technology, and metadata cataloging protocols; facilitates workplace training; and promotes awareness of intellectual property rights and copyright issues. The VRA Foundation supports a range of educational offerings to help ensure that such information reaches a diverse and global audience. Additional information is available at http://www.vrafoundation.org The Getty Foundation provides support to individuals and institutions committed to advancing the understanding and preservation of the visual arts locally and throughout the world. Through strategic grants and programs, the Los Angeles-based Foundation strengthens art history as a global discipline, increases access to collections, promotes the interdisciplinary practice of conservation, and develops current and future leaders in the visual arts. The Foundation fulfills the philanthropic mission of the J. Paul Getty Trust, an international cultural institution devoted to the visual arts. Additional information is available at http://www.getty.edu/foundation For more information about Cataloging Cultural Objects, contact the CCO co-chairs, Elisa Lanzi at elanzi at email.smith.edu or Ann Whiteside at awhites at mit.edu. CCO http://www.vrafoundation.org/ccoweb/index.htm CDWA-Lite http://www.getty.edu/research/conducting_research/standards/cdwa/cdwalite.html Museum-dat http://www.museumdat.org/index.php?ln=en Museum Computer Network http://www.mcn.edu/ ARLIS/VRAF Summer Educational Institute for Visual Resources and Image Management http://www.vraweb.org/seiweb/ VRA Core 4.0 http://www.vraweb.org/projects/vracore4/index.html Regards, Elisa Elisa Lanzi Director, Imaging Center Smith College Dept. of Art Hillyer Hall 22 Elm Street Northampton, MA 01063 VOICE: 413.585.3106 elanzi at email.smith.edu FAX: 413.585.3119 http://www.smith.edu/imaging ------------------------------ Message: 4 Date: Thu, 30 Oct 2008 09:30:56 -0400 From: "Benjamin Bailes" Subject: Re: [MCN-L] A summary of the Google Books Search settlement To: Message-ID: Content-Type: text/plain; charset=US-ASCII I will be out of the office from October 30 - November 4. I will answer email messages when I return. If you require immediate attention, please contact Josh Feldman jfeldman at themorgan.org or x346 Thanks. Benjamin Bailes ------------------------------ Message: 5 Date: Thu, 30 Oct 2008 12:29:35 -0400 From: "Eve Sinaiko" Subject: Re: [MCN-L] photography, digitization, and a color/grey card? To: "Museum Computer Network Listserv" Message-ID: Content-Type: text/plain; charset="iso-8859-1" > With apologies to Eve, please consider the following: > > Regarding the second part of her email; If your budget allows you to use a > good commercial printer who has printed art publications before, you will > have exceptional results from an entirely digital workflow. True, we rarely > see press-proofs any more, but that is due to the fact that color seps and > printers have been able to produce very accurate guide proofs from newer > generation studio printers. All I can say is that this puts the success of the color printing entirely in the hands of a pressman who may or may not be paying attention. It removes all hope of the editor and designer (the people with real expertise and who really care about the color accuracy) having any opportunity to intervene and improve color. We cannot require a printer to improve color if we cannot point to anything to show that the color is less than accurate. If museums are comfortable with this, then they should by all means remove the color bar and grayscale. But the publishers will then be in an excellent position to say, "Sorry, we printed what we were given." In my experience, museums expect more attention to color quality on the part of publishers. Absent a grayscale and color bar, our hands are tied. Also, of course, not all publishers work with the top printers, nor should museums expect that optimum printing conditions will be the norm. For example, most printers who know color printing well are working for the ad industry, where color standards are very different (e.g., maximum color saturation is desirable). There are almost no printers left who specialize in art printing-and they are mostly in Italy and Japan, which are beyond the budgets of most art publishers today. Lastly, newer generation studio printers are great-I hope they get installed soon. But in the meantime we are in a crucial transition period in which many (most) publishers and printers are not working with the latest equipment. I daresay smaller publishers will be in that position for a long time to come. > Capture software as well as CMYK printing is moving forward very quickly and > at this point has surpassed film, allowing us to control color and ink > densities like never before. > Image quality control is far more ?in front of the curtain? now as we all > see the images immediately at every point of the workflow. In some cases > your printer may provide on-line services, allowing you to soft proof images > and make edits on the fly (all before you go on press for quality control.) I don't dispute this, and I welcome it. Indeed, color printing has become less costly as a result. What I worry about is the blithe assumption that the tech can ensure quality, and that experienced editors and designers are not needed to take part in the process. In the past 5 years I have seen a sharp decline in much color reproduction of artworks because we are working with digital scans that have no visual guideposts. Every art publisher I know is distressed at this trend. Regards, Eve Sinaiko CAA ------------------------------ _______________________________________________ mcn-l mailing list mcn-l at mcn.edu http://toronto.mediatrope.com/mailman/listinfo/mcn-l End of mcn-l Digest, Vol 37, Issue 24 ************************************* From SSmith at getty.edu Thu Oct 30 13:18:24 2008 From: SSmith at getty.edu (Stanley Smith) Date: Thu, 30 Oct 2008 14:18:24 -0700 Subject: [MCN-L] photography, digitization, and a color/grey card? Message-ID: <4909C22F.0319.00B6.0@getty.edu> Ah..... the bygone days of the 4x5 transparency. For those publishers who lament the passing of transparencies I can only say this: be happy they are gone. We have been fooling ourselves for a long time but did not realize it until really good direct digital capture came to the fore. It turns out that transparency film is actually a dreadful medium for reproducing artwork. It has a very limited dynamic range, and a color gamut that often missed the colors of the original artwork. How can this have been allowed to happen, you may ask? In those days the workflow reality was that by the time the film came back from the lab, the painting was often out of the studio, so conducting a direct comparison was impossible. Even when it was possible to compare a transparency with an original, the 4x5 chrome was a glowing jewel on a light box, and the painting was illuminated by room light. The reality is that publishers never had to print an accurate rendition of the original artwork-- they just had to match the transparency. The transparency became the original-- and it could easily travel to the separator and the printing plant, and be directly compared to a proof or even a press sheet. We achieve much more "accurate" reproductions with direct digital captures; however it comes at a price. Things are much more complicated. ICC color management works really well-- but only if implemented correctly. However, it is very complex-- (review Ken's post-- dense stuff, and I'm sure he was dumbing it down for us!) A single misapplied color profile can throw things WAY off. As Ken accurately pointed out, in such a situation the grayscale might well look perfect! Not all is hopeless, though. Direct digital capture is fast, and it is possible to perform good color adjustments in a controlled environment very quickly-- enabling direct comparisons with artwork while it is still in the studio. However it requires a very different approach than shooting transparencies. Calibration is important. Viewing environments must be controlled. In other words, this subject goes way beyond grayscales and color bars, but rather highlights the need to establish clear guidelines and procedures. Thankfully there are lots of initiatives to do this, some of which are highlighted at the upcoming MCN conference. Stanley Smith Manager, Imaging Services J. Paul Getty Museum 1200 Getty Center Drive, Suite 1000 Los Angeles, CA 90049-1687 (310) 440-7286 From A-Newman at NGA.GOV Thu Oct 30 13:27:07 2008 From: A-Newman at NGA.GOV (Newman, Alan) Date: Thu, 30 Oct 2008 17:27:07 -0400 Subject: [MCN-L] photography, digitization, and a color/grey card? In-Reply-To: Message-ID: Hi Eve, Most of us care about color accuracy but we may define it differently. Color bars used at the point of capture are a false sense of security because they react differently to light than pigments. Color bars used in late stages for process control are a different story and can have value. Art printing? The master of masters is at MOMA now. Richard Benson's great show and extraordinarily beautiful catalogue, The Printed Picture, forcefully articulates a dilemma facing us all in art publishing. Virtually all printing is tied to color science and calibration and digital controls. Good or bad? Richard worries how we can retain our sensitivity if we are forced to abandon the instinctive response, our human-ness, our aesthetic, the "seat of the pants" controls we had in photography in the last century, if we are mired in calibration and measurements? He feels that the danger in this technical complexity is we'll abandon the "unexpected and unpredictable" which is the most fertile ground in art. Perhaps I'm more optimistic and aligned with Jeff Evans. The learning curve is much steeper now. For better or worse we've stopped rubbing chemicals on paper. I made platinum prints for years and the head to toes excitement doing that I will never find in Photoshop. If we work our way through this, either ourselves, or partnering with those that understand it, we can have our cake and eat it. The latest enhancements to printing technology like Indigo, GRACoL and colorimetrically controlled presses actually takes the color decisions away from the press operator and places it in the eyes and brain of whoever is designated to vouch for the reproduction. Sometimes this is a publisher, a photographer, a color editor, a curator or at best it can be agreement among all. ImageMuse came together to tackle this problem: Color reproduction cannot be trusted using digital files received from unfamiliar sources without embedded color profiles and/or guide prints. Anyone that opens the image file at any stage from capture through file preparation, design and printing must understand all the roles in correct color handling. Best, Alan On 10/30/08 12:29 PM, "Eve Sinaiko" wrote: > > >> With apologies to Eve, please consider the following: >> >> Regarding the second part of her email; If your budget allows you to use a >> good commercial printer who has printed art publications before, you will >> have exceptional results from an entirely digital workflow. True, we rarely >> see press-proofs any more, but that is due to the fact that color seps and >> printers have been able to produce very accurate guide proofs from newer >> generation studio printers. Jeff Evans. > > All I can say is that this puts the success of the color printing entirely in > the hands of a pressman who may or may not be paying attention. It removes all > hope of the editor and designer (the people with real expertise and who really > care about the color accuracy) having any opportunity to intervene and improve > color. We cannot require a printer to improve color if we cannot point to > anything to show that the color is less than accurate. > > If museums are comfortable with this, then they should by all means remove the > color bar and grayscale. But the publishers will then be in an excellent > position to say, "Sorry, we printed what we were given." In my experience, > museums expect more attention to color quality on the part of publishers. > Absent a grayscale and color bar, our hands are tied. > > Also, of course, not all publishers work with the top printers, nor should > museums expect that optimum printing conditions will be the norm. For example, > most printers who know color printing well are working for the ad industry, > where color standards are very different (e.g., maximum color saturation is > desirable). There are almost no printers left who specialize in art > printing-and they are mostly in Italy and Japan, which are beyond the budgets > of most art publishers today. > > Lastly, newer generation studio printers are great-I hope they get installed > soon. But in the meantime we are in a crucial transition period in which many > (most) publishers and printers are not working with the latest equipment. I > daresay smaller publishers will be in that position for a long time to come. > >> Capture software as well as CMYK printing is moving forward very quickly and >> at this point has surpassed film, allowing us to control color and ink >> densities like never before. >> Image quality control is far more ?in front of the curtain? now as we all >> see the images immediately at every point of the workflow. In some cases >> your printer may provide on-line services, allowing you to soft proof images >> and make edits on the fly (all before you go on press for quality control.) > > I don't dispute this, and I welcome it. Indeed, color printing has become less > costly as a result. What I worry about is the blithe assumption that the tech > can ensure quality, and that experienced editors and designers are not needed > to take part in the process. In the past 5 years I have seen a sharp decline > in much color reproduction of artworks because we are working with digital > scans that have no visual guideposts. > > Every art publisher I know is distressed at this trend. > > Regards, > Eve Sinaiko > CAA From mcn-announce at mcn.edu Fri Oct 31 09:01:29 2008 From: mcn-announce at mcn.edu (MCN Announcements) Date: Fri, 31 Oct 2008 13:01:29 -0400 Subject: [MCN-L] =?windows-1252?q?Museum_Computer_Network_Conference_2008_?= =?windows-1252?q?=96_it=92s_not_too_late!?= Message-ID: <490B39E9.7020803@mcn.edu> There is still time to join the Museum Computer Network for our annual conference, November 12 through 15, 2008, in Washington, D.C. Network with your colleagues and take part in a full range of programming spanning diverse aspects of technology and information work in the museum and cultural heritage environment today. Register online now at http://www.mcn.edu/conferences/index.asp?subkey=2079 Registrations are also accepted on site at any point during the conference. View the full schedule of sessions and programming at http://www.mcn.edu/conferences/index.asp?subkey=2093 We hope to see you in Washington, D.C.!