Connecticut Library Association Conference
Monday May 7, 2012
YALE UNIVERSITY
Beinecke Rare Book & Manuscript Library
Yale Center for British Art
Digitization Projects at Yale from Digital Capture to Collaboration and Dissemination
Rapid Imaging and Publication Capture: Workflows, Choices and End Users –
Chris Edwards, Beinecke Rare Book & Manuscript Library
Open Access, Collaboration and Dissemination –
Melissa Gold Fournier, Yale Center for British Art
for the Connecticut Library Association Conference
Monday May 7, 2012
YALE UNIVERSITY
Beinecke Rare Book & Manuscript Library
Digitization Projects at Yale
Rapid Imaging and Publication Capture:
Workflows, Choices and End Users
Beinecke Rare Book & Manuscript Library
The Issues, Why Rapid Imaging:
• High demand for digital surrogates of materials for research purposes
• Discovery images needed for display in the Beinecke Digital Library
• Rare Books and Manuscripts are generally too fragile or valuable for traditional Mass Digitization
• Collections are stored in such a way as to facilitate Rapid Imaging
• Limited (expensive) digitization choices offered to patrons faculty and staff
• High amount of handling of popular items
• Several large collections in the cue for digitization
Beinecke Rare Book & Manuscript Library
Beinecke Rare Book & Manuscript Library
Hardware
•Canon EOS 1-DS Mark III
•Canon EF 24-70 f 2.8 Lens
•Kaiser R1 System
•Dell Latitude D830 Core 2 Duo
•LaCie 2 Terabyte External Hard
Drive w/USB 2.0
•Uline Wire Utility Cart, 36w x 24d x
39h
Software
•Canon EOS Utility
•Adobe CS5 w/Bridge and Camera
RAW 6.4.1
•Adobe Digital Negative Converter
Rapid Imaging Project (RIP)
Beinecke Rare Book & Manuscript Library
Rapid Imaging Examples:
Beinecke Rare Book & Manuscript Library
New Directions: Negative and Transparency Digitization
The Issues, Why High Resolution:
• High resolution captures needed for publication and reproduction uses
• Some of Beinecke Library material too rare or valuable to outsource or remove from the building
• Materials or objects are too fragile for repeated digitization
• Material too specialized to merit repeated digitization
• Ways in which objects are stored
• Specific need is in place for image
• Unknown future needs for images
• Conservation Imaging needs
Beinecke Rare Book & Manuscript Library
Beinecke Rare Book & Manuscript Library
Hardware
•Better Light Super 8K scan back
camera
•ZBESatellite 4x5 camera stand
and controller
• North Light HDI lights
Software
•Better Light Viewfinder 7.2.1
•Adobe CS3
High Resolution
Beinecke Rare Book & Manuscript Library
High Resolution Publication Quality
Images:
Rapid vs. “Traditional”
Beinecke Rare Book & Manuscript Library
http://beinecke.library.yale.edu/digitallibrary/
www.library.yale.edu/beinecke/brblresearch/copyright.html
Beinecke Rare Book & Manuscript Library
Image Dissemination:
Yale Digital Coffee:
http://www.yale.edu/digitalcoffee/
Beinecke Rare Book & Manuscript Library
for the Connecticut Library Association Conference
Monday May 7, 2012
YALE UNIVERSITY
Yale Center for British Art
Digitization Projects at Yale
Open Access, Collaboration and Dissemination
What is Yale University’s Open Access Policy?
Yale Center for British Art
General Principle:
The preservation, transmission, and advancement of knowledge in
the digital age are promoted by the creative use and reuse of
digitized content for research, teaching, learning, and creative
activities. The goal of digitization is to enhance access to the
collections in Yale’s museums, archives, and libraries for students,
faculty, and the world.
To this end, Yale will make digital copies of unrestricted public
domain collections available for use without limitations through the
University’s electronic interfaces.
For the full policy, see http://odai.yale.edu/open-access-collections
Yale Center for British Art
Brief Background / Timeline on Open Access in the Field
Editorials, Policies and Studies
1990’s – College Art Association statement (fees having a profound effect on scholarship, arguments
for fair use)
2004 – Mellon Foundation Study on Reproduction charging models & rights policy for digital images
in American art museums
2005 – Ken Hamma in D-Lib, “Public Domain Art in an Age of Easier Mechanical Reproducibility
2009 – Max Planck Institute Report, “Best Practices for Access to Images: Recommendations for
Scholarly Use and Publishing”
Movements/Response in the Museum Community
2007 – Metropolitan Museum of Art / ARTstor Images for Academic Publishing
2007 – Victoria and Albert (educational/scholarly use)
British Museum
2011 – LACMA
2011 – Walters Art Museum, Baltimore
Yale Center for British Art
Yale University Open Access Policy, Continued….
Copyright: Yale University fully supports the protection of intellectual property and is
committed to complying with and strictly adhering to all applicable copyright law.
Privacy: Yale University respects the right to privacy of individuals and groups and is
committed to complying with and strictly adhering to all applicable legal requirements in
protecting that privacy.
Donor Restriction: Yale University is committed to strictly adhering to provisions embodied
in agreements with donors of collections.
Yale Marks/Name: The use of the Yale name or trademarks for any purpose – other than
standard source citation (see Acknowledgement below) – requires the prior approval of the
Office of the Vice President and Secretary, Contact information for this office may be found
at: http://www.yale.edu/licensing/general.html
Acknowledgement: Users are asked to attribute the work in the manner specified by the
applicable museum, library, or archive guidelines, without suggestion of endorsement.
What makes Yale’s policy different? (and why?)
Jacques-Laurent Agasse, 1767-1849, Swiss, active in Britain (from 1800), Old
Smithfield Market, 1824, Oil on canvas, Yale Center for British Art, Paul Mellon Collection
Yale Center for British Art
Movements within Yale
Yale Center for British Art
Collaboration
Yale Center for British Art
The Adoption of the Policy
Yale Center for British Art
Policy Drivers
University Mission
Leadership for Cultural Heritage Institutions
Financial Considerations
Legal / Unenforceable Restrictions
Open Access Challenges
Philippe Mercier, 1689 or 1691-1760, Franco-German, active in Britain (from 1716), The
Sense of Hearing, 1744 to 1747, Oil on canvas, Yale Center for British Art, Paul Mellon Collection
To Learn More…
,William Bell Scott, 1811-1890, Ailsa Craig, 1860, oil on canvas,
Yale Center for British Art, Paul Mellon Collection
Yale University yale.edu
Discover Yale Digital Content discover.odai.yale.edu
Yale Center for British Art britishart.yale.edu
Alfred Joseph Woolmer, 1805-1892, Interior of the British Institution,
1833, Oil on canvas, Yale Center for British Art, Paul Mellon Collection
Open Access and Projects for Display and Dissemination
Yale Center for British Art
britishart.yale.edu
Yale Center for British Art
Image Availability for Public Domain Works
YALE UNIVERSITY
Beinecke Rare Book & Manuscript Library
Yale Center for British Art
Contacts and Resources
Yale Collections
Discover Yale Digital Content | discover.odai.yale.edu
Beinecke Rare Book and Manuscript Library | library.yale.edu/beinecke
Yale Center for British Art | britishart.yale.edu
Yale University Art Gallery | artgallery.yale.edu
Yale Digitization Resources
Beinecke Digital Studio Website | beinecke.library.yale.edu/brbltda
Digital Coffee | yale.edu/digitalcoffee