By Lindsay MacDonald
ISBN-10: 0750661836
ISBN-13: 9780750661836
Within the fields of documentation and conservation of cultural background resources, there's a consistent desire for greater caliber files and higher analytical instruments for extracting information regarding the situation of artefacts. electronic images and electronic photo processing offer those services, and up to date technological advances in either fields promise new degrees of functionality for the catch and realizing of color pictures. This inter-disciplinary publication covers the imaging of adorned surfaces in historic constructions and the digitisation of records, work and gadgets in museums and galleries, and exhibits how person necessities should be met via software of robust electronic imaging ideas. various case reviews illustrate the equipment. * methods to follow the most recent electronic ideas on your paintings* comprehend state of the art electronic images & imaging for conservation* With case reports to illustrate various methods for various goods
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Additional info for Digital Heritage: Applying Digital Imaging to Cultural Heritage
Example text
1 Quality guidelines for the capture of the digitised master file. 2 shows the preferred file formats for the various operational versions of the digitised masters – the service copies. See the case study Collect Britain below for examples. 2. Experience with Beowulf showed that a high quality digital camera was able to produce the resolution and colour fidelity required to represent materials such as manuscripts, photographs, and maps. The BL bought further digital scanning backs as better models came onto the market, fitting them onto the existing standard BL studio camera bodies.
Currently there are only three viable formats that fulfil these criteria: TIFF, PNG, and SPIFF. Given the relatively poor support for PNG and SPIFF, the library uses TIFF v6 for the archival master. [5] Service copies of the digitised master in other formats must also be made available in three sizes for delivery to users over the web: (1) thumbnail – GIF, JPEG or PNG; (2) low resolution – JPEG; (3) high resolution – JPEG. They can be produced at the time of image capture and stored in a content management system, or produced on demand at delivery time from a copy of the digitised master file.
The new studio gave the BL additional digitisation capacity beyond the end of the Collect Britain project. Having made the decision to use digital cameras with scanning backs, a competitive procurement was undertaken to select and purchase the equipment. The major selection criteria, based on achieving the quality and throughput targets, were: ■ Quality of image capture; ■ Ease of set-up for different kinds of materials; ■ Speed of capture; ■ Reliability; ■ Cost. Phase One digital camera backs were selected for the project.
Digital Heritage: Applying Digital Imaging to Cultural Heritage by Lindsay MacDonald
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