m archiving2016 a april19-22,2016 • washington,dc r g · 2018-11-27 · heritage imaging (chi;...

www.imaging.org/archivingGeneral Chair: Kari Smith,MIT Libraries, Institute Archives and Special Collections

PRELIMINARY

PROGRA

M ARCHIVING2016April 19-22, 2016 • Washington, DC

Sponsored by the Society for Imaging Science and Technology

April 19-22, 2016 • Washington, DC

©2016 Society for Imaging Science and Technology (IS&T). Cover image: Suzanne E. Grinnan

General ChairKari Smith, MIT Libraries, InstituteArchives and Special Collection(USA)

Program ChairUlla Bøgvad Kejser, DetKongelige Bibliotek/The RoyalLibrary (Denmark)

Short Course ChairMichael Horsley, NationalArchives and RecordsAdministration (USA)

Technical Program CommitteeMichael Bennett, University ofConnecticut (USA)

Peter Burns, Burns DigitalImaging (USA)Kathrine Hougaard EdsenJohansen, Copenhagen CityArchives (Denmark)Mikko Lampi, Mikkeli Universityof Applied Sciences (Finland)Erik Landsberg, Museum ofModern Art (USA)Volker Märgner, TechnischeUniversität Braunschweig(Germany)Phil Michel, Library of Congress(USA)Christoph Voges, consultant(Germany)Kate Zwaard, Library ofCongress (USA)

Steering CommitteePeter Burns, Burns DigitalImaging (USA)Suzanne E. Grinnan, IS&T (USA)Ulla Bøgvad Kejser, DetKongelige Bibliotek/The RoyalLibrary (Denmark)Kari Smith, MIT Libraries, InstituteArchives and Special Collection(USA)David Walls, US GovernmentPrinting Office (USA)

Conference Committee

The IS&T Archiving Conference brings togetheran international community of imaging expertsand technicians as well as curators, managers,and researchers from libraries, archives, mu-seums, records management repositories, in-formation technology institutions, and com-mercial enterprises to explore and discuss thefield of digitization of cultural heritage andarchiving. The conference presents the latestresearch results on digitization and curation,

provides a forum to explore new strategiesand policies, and reports on successful projectsthat can serve as benchmarks in the field.Archiving 2016 is a blend of short courses,invited focal papers, keynote talks, andpeer-reviewed oral and interactive displaypresentations, offering attendees a uniqueopportunity for gaining and exchangingknowledge and building networks amongprofessionals.

Cooperating Societies• American Institute for Conservation Foundation of the

American Institute for Conservation (AIC)• ALCTS Association for Library Collections & Technical Services• Coalition for Networked Information (CNI)• Digital Library Federation at CLIR• Digital Preservation Coalition (DPC)• IOP/Printing & Graphics Science Group• ISCC – Inter-Society Color Council• Museum Computer Network (MCN)• The Royal Photographic Society

About the Conference

Short courses offer an intimate setting to gainmore in-depth knowledge about technicalaspects of digital archiving. View all short coursesbeginning on page 3.

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Conference At-a-GlanceAll short courses and technical sessions willtake place at the National Archives, 700Pennsylvania Ave. Please enter at the cornerof 7th St NW and Constitution Avenue whereit say “Group Entrance”. Please arrive earlyas you will need to go through security screen-ing to enter the building.

Registration Desk OpenTuesday, April 19 7:45 am – 5:30 pmWednesday, April 20 8:00 am – 4:00 pmThursday, April 21 8:30 am – 3:00 pmFriday, April 22 8:30 am – 12:30 pm

Tuesday, April 19• Short Course Program (see page 3);

separate registration fee required.You may register for short coursesonly; there is no requirement toattend the technical conference.

• Meet and Greet at Iron Horse TapRoom, 507 7th St NW, 5:30 pm; locat-ed 3 blocks from NARA.

Wednesday, April 20• Opening Keynote: Spectral Imaging

of Manuscripts: Recovery of thePast and Preservation for the Future;Roger Easton, RIT, and Keith Knox,consultant

• Exhibition• Exhibitor Previews• Technical Papers Program

- Advanced Imaging Techniques- Asset Management- Interactive Paper Previews- Interactive Paper Session- Preservation Formats andFrameworks

• Conference Reception: Hill CountryBBQ, 410 7th St NW

Thursday, April 21• Society Awards• Exhibition• Technical Papers Program

- Imaging Standards and QualityAssurance

- Imaging Strategies and Workflows- Dissemination and Use

• Behind-the-Scenes Tours; see page 17for details.- Library of Congress: PreservationDirectorate

- National Archives and RecordsAdministration: NARA InnovationHub

- National Gallery of Art: Division ofImaging and Visual Services (DIVS)

Friday, April 22• Closing Keynote: Implementing Prac-tices that Lead to Use or Reuse of yourCollections, Emily Gore, Digital PublicLibrary of America

• Technical Papers Program- Metadata Standards andImplementation

- Interactive Paper Session- Image Color Science and AnalysisTools

- Evaluation and Impact• Interactive Papers

Important DatesHotel registration deadline:

March 7, 2016

Early registration deadline:March 21, 2016

Note: There is NO onsiteregistration for this event due toNational Archives rules. Atten-dees must register for the eventahead of time either online, byfax, or by calling the IS&T office.

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The Venue: National Archives, Washington, DCThe National Archives—home to the US Declarationof Independence andConstitution—will hostArchiving 2016.

Located in the heart of Washington, DC, theNational Archives borders the National Mall,which is home to many of the Smithsonian

Museums and the National Gallery of Art.Numerous cultural heritage institutions, theUS Capitol, the White House, other govern-ment departments, national monuments,restaurants, and Metro transit stations arewithin easy walking distance. The 2016meeting occurs at the end of the Cherry Blos-som Festival, when the city’s gardens andparks come alive with blooms.

Lodging AccommodationA special hotel rate of $159/night, includinginternet access, has been secured for Archiv-ing 2016 attendees at the Sheraton SilverSpring Hotel in Silver Spring, Maryland. Thehotel is located three blocks from the SilverSpring Metro Station. A 20-minute Metro ride(red line) takes attendees to Gallery Place/Chinatown, a short walk from the NationalArchives. Hotel reservations must be madeby March 7, 2016.

Sheraton Silver Spring Hotelwww.sheratonsilverspring.com8777 Georgia AvenueSilver Spring, Maryland 20910

Rate: $159 + 7% occupancy and 6% statesales tax per night

Rate honored +3 days prior to and after theconference based on availability. Note: A$50 fee is incurred for checking out prior toyour confirmed departure date. Be sure tomake any changes before checking in.

To Reservevia Online: http://bit.ly/1PAC0PBvia Phone: +1 301 589 0800Reference: IS&T Archiving2016Check in/out 3:00 pm/noon

Airport InformationFor planning purposes, attendees may arriveat any of the three Washington, DC airports.• Reagan National Airport (DCA) is 14miles from the hotel. It offers the conven-ience of Metro access to Silver Springwith one train change; taxi rates are ~$35.

• Baltimore Washington International Airport(BWI) is 32 miles from the hotel by shuttle(~$30) or taxi (~$80); there is also a $7bus to the Greenbelt Metro, with oneMetro train change enroute.

• Dulles International Airport (IAD) is 30miles from the hotel and hosts the mostinternational flights. Shuttle/Metro combo,SuperShuttle (~$35), and taxi (~$80)service are all available from IAD.

Getting to National ArchivesMetro (www.wmata.com) National Archives isserved by the Gallery Place/Chinatown Staion(Red line) and Archives/Navy-Memorial/PennQuarter Station (Yellow and Green lines).

Parking There is no parking at NARA itself.Street parking is limited both in terms of lengthof time and availability. Garage parking isrecommended.

Weather The average temperature in April is57°F/14°C. Some rain can be expected.

Accommodation and Transportation

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NEW for 2016ArchSC01: Computational Photography Techniquesfor Cultural Heritage Documentation andArchiving: Reflectance Transformation Imaging(RTI) and Photogrammetry9:00 am – 12:00 pm (3 hours)Instructors: Carla Schroer and Mark Mudge,Cultural Heritage Imaging

Through lectures, demonstrations, and discus-sion, this short course provides a condensedoverview of computational photography andits application to cultural heritage. Computa-tional photography extracts and synthesizesinformation from image sequences to createa new image containing information notfound in any single image in the sequence.This course offers an intensive introduction tothe technologies, software, photographicequipment, and methods for reflectancetransformation imaging (RTI), and 3D pho-togrammetry—techniques that are beingapplied to a variety of art objects and otherexamples of material culture.

RTI creates scientific digital representa-tions of an imaging subject’s shape and col-or. These digital representations are generat-ed from image sequences where the lightilluminating the photo’s subject is moved to anew location for each photograph. The light-ing information from this image sequence ismathematically synthesized into an RTI im-age. The subject’s shape and color is exam-ined in an RTI by interactively re-lighting thesubject from any direction and applyingmathematical enhancements within an RTIsoftware-viewing environment.

RTI is used on a wide range of subjects,including documenting low-relief surfaces likepaintings and engravings. The course showsexamples from museums and historic sites in-cluding inscriptions, rock art, manuscripts,and paintings. It also provides an overviewof free RTI software, including newly releasedand planned software updates. In addition, a

demonstration of the RTI photographic cap-ture sequence, using standard digital photo-graphic equipment is performed during thecourse and new research techniques usingthese data sets are presented.

The first half of the course features newtools for the near-automatic recording andarchiving of RTI contextual and process meta-data. The creation of Digital Lab Notebook(DLN), which serves the same function as awritten scientist’s lab notebook, is discussed.We explore the necessity for transparent eval-uation of scientific digital representations.The goal is to establish the conditions underwhich a “real world“ artifact can be digitallyrepresented as a “digital surrogate”, whichcan reliably serve as a digital stand-in thatcan be used for subsequent scientific or schol-arly examinations. New software tools toaide in saving the appropriate material for adigital lab notebook are presented.

3D Photogrammetry refers to the prac-tice of deriving 3D measurements from photo-graphs. It can be used for documenting 3Dsubjects, monitoring changes to these sub-jects over time, and a wide range of otheruses. Photogrammetry creates accurate andmeasurable 3D models in a wide range ofscales. Recent technological advances indigital cameras, computer processors, and

Short Course Program: Tuesday, April 19th

Special Notes for Short CoursesAll Short Courses take place at the NationalArchives, 700 Pennsylvania Ave. Please enterat the corner of 7th St NW and ConstitutionAvenue, the entrance for Groups. Please arriveearly as you will need to go through securityscreening to enter the building.

We encourage you to register for courses inadvance to insure that they run.

Note that you may register for short coursesonly; conference registration is not required toregister for classes.

computational techniques, such as sub-pixelimage matching, make photogrammetry aportable and powerful technique. It yields ex-tremely dense and accurate 3D surface data.It can be generated using a sequence ofphotos and captured with standard digitalphotography equipment, in a relatively shortperiod of time.

The second half of the course exploreshow photographic sequences of a subject canbe captured according to principles that max-imize the available information from a seriesof viewpoints to yield the best results. We alsosee how these software platform-independentrule-based data sets can be transformed into3D representations and confidently reused byothers now and in the future.

BenefitsThis course enables the attendee to:• Have a clear understanding of two com-putational photography imaging tech-niques, how they are used, what they canreveal, and what is involved in adoptingthem in cultural heritage practice.

• Appreciate the open source RTI softwaretools, with freely available User Guides,a free user forum, and other supportingmaterials.

• Understand software independentphotogrammetry image capture

• Learn about the Digital Lab Notebook(DLN), how archiving and reuserequirements are driving modifications toits development, and how to use it in thecontext of RTI

Intended Audience: There are no prerequisites.Anyone from novice to expert is welcome.

Carla Schroer is a co-founder and director of CulturalHeritage Imaging (CHI; culturalheritageimaging.org),a non-profit corporation that develops and implementsnew imaging technologies for cultural, historic andartistic heritage, and scientific research. Schroer hasbeen active in the cultural heritage computational pho-tography research community since 2002. Schroer

leads the training programs at CHI, along with work-ing on field capture projects with Reflectance Transfor-mation Imaging, 3D photogrammetry, and relatedcomputational photography techniques. She alsoleads the software development and testing activitiesat CHI. She spent 20 years in the commercial soft-ware industry, managing and directing a wide rangeof software development projects including object ori-ented development tools, desktop publishing software,and Sun Microsystems’ Java technology.

Mark Mudge is President and co-founder ofCHI. Mudge has a BA in philosophy from New Col-lege of Florida (1979). He has worked as a profes-sional bronze sculptor and has been involved in pho-tography and 3D imaging for more than 20 years. Heis a co-inventor, with Tom Malzbender, of the compu-tational photography technique, Highlight ReflectanceTransformation Imaging. He has published 14 articlesand book chapters related to scientific imaging of cul-tural heritage material and its long-term preservation.He serves on several international committees, includ-ing The International Council of Museums' (ICOM)Documentation Committee (CIDOC).

ArchSC02: Scanner & Camera ImagingPerformance: Ten Commandments9:00 am – 12:00 pm (3 hours)Instructors: Don Williams, Image ScienceAssociates, and Peter Burns, Burns Digital Imaging

This is a no-nonsense course on simple andachievable tools/techniques to build a soliddigital imaging foundation for the capture ofresilient and versatile digital images. We up-dated this course from a previously publishedTop Ten Tips publication several years ago.These include realistic color management,predictable behavior of branded capture de-vices, and new methodologies for rapid cap-ture imaging. Specific and practical exam-ples of the use of ISO standards andinstitutional guidelines in museum or libraryenvironments will be described. The elementsof this course can be applied by digital im-age service providers, collection custodians,and device manufacturers.

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April 19-22, 2016 • Washington, DC

Imaging Performanceand Standards

Collection Building andBest Practices

Working with DigitalContent

Advanced Imaging forArchiving

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Short Courses At-a-Glance

9:00 AM – 12:00 PMArchSC01: Computational

Photography Techniques forCultural Heritage Documenta-tion and Archiving: ReflectanceTransformation Imaging (RTI)

and Photogrammetry

9:00 AM – 12:00 PMArchSC02: Scanner & CameraImaging Performance: Ten

Commandments

9:00 AM – 12:00 PMArchSC03: Program

Management for CulturalHeritage Professionals: AnIntroductory Workshop forManagement of Digitization

and Curation

1:15 – 3:15 PMArchSC05: Spectral Imaging:

Spectral Capture and Processing

3:30 – 5:30 PMArchSC09: Four-Light Imaging

1:15 – 3:15 PMArchSC06: Scan/Camera Imag.Perf: FADGI Guidelines . . .

3:30 – 5:30 PMArchSC10: Intro. to Metamorfoze

Preservation Guidelines . . .

1:15 – 3:15 PMArchSC07: Digital Collection

Development

3:30 – 5:30 PMArchSC11: Assessing Formats

for Preservation

1:15 – 3:15 PMArchSC08: Automatic Croppingand Deskewing: Theory . . .

3:30 – 5:30 PMArchSC12: Curation, Collection,

and Use of Web Archives

9:00 AM – 12:00 PMArchSC04: Fundamentals

of Image and VideoCompression

Descriptions for short courses begin on page 3.

BenefitsThis course enables the attendee to:• Interpret and comply with customer imag-ing requirements.

• Establish accountability for imaging per-formance problems.

• Understand standards to characterizescanner and camera performance.

• Critically evaluate manufacturers' claimsof resolution, color errors, and noise.

Intended Audience: Managers, engineers, andtechnicians responsible for evaluating andmonitoring scanner and camera performanceand emerging guidelines. This includes man-ufacturers, service providers, and contentcustodians. A working knowledge of digitalscanner and camera operation and theircommon technologies will be assumed.

Don Williams is founder of Image Science Associates,a digital imaging consulting and software group. Theirwork focuses on quantitative performance metrics fordigital capture of digital imaging devices and imaging

fidelity issues for the cultural heritage community. Hehas worked for a number of large cultural heritage in-stitutes in practical implementation of image qualitycontrols and is the prime architect for the Golden-Thread image quality evaluation tools. He has taughtshort courses for many years and contributes to severalimaging standards activities.

Peter Burns is a consultant working in digitalimage evaluation, system monitoring, and image pro-cessing. He has experience in several areas of digitalimaging: digital photography, mobile imaging, andcultural heritage.

NEW for 2016ArchSC03: Program Management for CulturalHeritage Professionals: An Introductory Workshopfor Management of Digitization and Curation9:00 am – 12:00 pm (3 hours)Instructor: Michael B. Toth, R.B. Toth Associates

This 3-hour course introduces culturalheritage professionals to best practices inprogram management. It focuses on method-ologies for managing digital projects that

create or develop data, integrate new tech-nologies and data, and/or support digitalarchiving and access. This includes digitiza-tion and curation projects for collecting, pro-cessing, accessing, archiving, and collabo-rating with digital data.

Instruction supports cultural heritageprofessionals as they manage successivestages of digitization and curation projectsfrom initiation through production and opera-tion, especially with changing technologiesand tighter budget environments. The work-shop utilizes examples and case studies ofprogram management techniques andprocesses that are applicable to digitizationand data curation programs of varied costand complexity in a range of institutionsaround the globe.This course provides project leaders, man-

agers, and others working or intending towork with cultural heritage digitization andcuration projects with an introduction to theresources, tools, and capabilities for effectiveprogram planning, development, andmanagement.

BenefitsThis course enables the attendee to:• Appreciate program management bestpractices that are appropriate for culturalheritage program planning, management,and implementation.

• Gain guidance and techniques for man-aging projects and tracking progress, in-cluding developing:• a solid program management anddata management plan.

• an effective structure for task develop-ment.

• an effective program master schedule.• Learn about requirements and resourcestracking and reporting.

• Learn about the business case for usingestablished program planning and man-agement techniques and best practices,and its return on investment.

• Understand cost-effective methods fordetermining and implementing optimal

technologies that meet cultural heritagestandards for long-term digital datapreservation.

Intended Audience: Cultural heritage, digitiza-tion, and curation personnel responsible forproject success will benefit from the basicconcepts and best practices of project man-agement. This course is equally applicable toall project team members. There are no pre-requisites except a desire to use effective pro-gram management and best practices. Partic-ipants also develop increased understandingthat can help them tap multidisciplinary sup-port from the scientific, engineering, and in-formation technology communities. This in-cludes becoming familiar with thevocabularies and standards necessary to ad-dress the requirements of broad governmen-tal and external oversight and reporting.

Michael B. Toth is president of R.B. Toth Associatesand honorary research associate at University CollegeLondon. With more than 25 years of experience inprogram management, systems integration, and strate-gic planning, Toth has led teams of scientists, scholars,and technical experts as they help museums, libraries,archives, and other institutions make more data wide-ly available for all. He has provided program andtechnical management support for numerous culturalheritage projects ranging from the Vatican Library tothe Walters Art Museum. Toth studied science atWake Forest University, where he received his degreein history.

NEW for 2016ArchSC04: Fundamentals of Image and VideoCompression9:00 am – 12:00 pm (3 hours)Instructor: Christoph Voges, consultant

Image and video compression methods arehighly relevant for digital archiving today. Theapplication of such techniques can significant-ly reduce the amount of data to be stored andthus save valuable resources in terms of stor-age space and costs. Accordingly, a thorough

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knowledge of image and video compressionmethods can be of great value in practice.

Currently, there are a large variety of fileformats for digital images and videos basedon different compression methods, which areeither “lossless” and “lossy”. Lossless com-pression methods produce no real differencebetween the original and compressed ver-sions. In contrary, in lossy compression a cer-tain error is tolerated to allow higher compres-sion rates. For many compression techniques,a number of parameters have to be reason-ably chosen. As a consequence, when deal-ing with image and video data in practice,several decisions regarding file format andcompression have to be made.

This course provides an in-depthoverview of image and video compressionmethods frequently used today. Based on adescription of the fundamental principles,several commonly encountered file formats(e.g., TIFF, JPEG, JPEG2000, MPEG, andH.264) and appropriate selection of param-eters (e.g., compression ratios) are dis-cussed, including reasonable choices for theimage resolution. Finally, selected opensource tools suitable for compressing digitalstill images and videos are highlighted.

BenefitsThis course enables the attendee to:• Understand the principles of modernimage and video compression methodsand file formats.

• Recognize the difference between losslessand lossy compression.

• Know advantages and disadvantages ofcertain compression techniques.

• Figure out which file formats and com-pression methods may be reasonable fora specific application.

• Choose suitable software tools for imageand video compression.

Intended Audience: All professionals working indigital archiving, imaging science, digital hu-manities, and related areas who deal withimage compression in practice.

Christoph Voges has studied electrical engineering atTechnische Universität Braunschweig (Germany) andUniversity of Southampton (UK). His doctoral thesis hasbeen on “Long-term Archiving of Digital Data on Film.”Today, he is working as a consultant and as an aca-demic lecturer; his specific research interest is digitaldata storage on film, including signal and image pro-cessing, as well as error correction coding. He is alsoa delegate at the ITG Technical Committee 3.4 “FilmTechnology” and the AWV Working Committee 6.3“Data and Storage Management”.

NEW for 2016ArchSC05: Spectral Imaging—Spectral Captureand Processing1:15 – 3:15 pm (2 hours)Instructors: Fenella G. France and Meghan Wilson,Library of Congress

This course examines the interaction and linksbetween non-invasive analytical scientifictechniques and the cultural, societal, andprovenance information contained withinoriginal sources that is not apparent withoutundertaking this non-invasive object archeol-ogy. Course activities include lectures to ex-plain non-invasive imaging techniques andimage data processing to better understand

Short Course FeesIf you register: on or before after

March 21 March 212-hourMember $140 $190Non-mem $165 $215Student $60 $110

3-hourMember $190 $240Non-mem $205 $255Student $85 $135

Please Note: IS&T reserves the right to cancelclasses in the event of insufficient advanceregistration. Please indicate your interest early.

the tools available for preservation. Studentsare introduced to the range of types of spec-tral imaging and processing techniques thatcan be undertaken to explore unknown infor-mation hidden within the original sourcematerial.

In addition to expanding knowledgeabout the range of information availablethrough spectral imaging, the class providesaccess to two image processing software pro-grams and trains participants how to processspectral imaging datasets through PrincipalComponent Analysis and Pseudocolor pro-cessing to retrieve data from objects such aspalimpsests, watermarks, spectral mappingto separate colorants, and spectral curvetechniques for characterization of colorants,and tracking changes over time. The coursealso addresses cost-effective methods for im-plementing and assessing spectral imagingtechnologies and standardized spectral im-aging system processes for capturing, pro-cessing, and storing spectral image informa-tion, including data and metadata, in supportof scholars and heritage institutions.

Generalized instruction is combinedwith a case study approach that draws froma range of examples representing a wide ge-ographic and temporal scope, and includesthe digital preservation of documents, im-ages, and objects. The approach highlightdifferent stages of projects and the varyingneeds of researchers and users, from historicfragile manuscripts, maps, and palimpsests,to iconic American documents such as thedrafts of the Gettysburg Address, the 1507Waldseemüller Map, and Mayan flasks.

BenefitsThis course enables the attendee to gain skillsto focus on best practice, standardized pro-cedures and effective digital spectral projectplanning, including• Assessing imaging modalities and pro-cessing to best meet the needs of specificresearch.

Integrating the priorities of scholars, sci-entists, and researchers in project design

Managing and integrating data andmetadata.

Balancing schedule and cost, as well asquality, conservation, and efficiency.

Assessing impact in relation to access forend users.

Intended Audience: This course supports a widerange of professionals who work on or areplanning to work on collaborative, multidisci-plinary projects that requires spectral imag-ing. These include preservation professionalsand scholars; scientists and engineers; digitalspecialists; database administrators; pro-gram managers and directors; and archivists,curators, librarians and researchers.

Fenella France, chief of the Preservation Research andTesting Division at the Library of Congress, researchesspectral imaging techniques and addressing integra-tion and access between scientific and scholarly data.An international specialist on environmental deteriora-tion to cultural objects, her focus is connecting mechan-ical, chemical, and optical properties from the impactof environment and treatments. Serving on standardsand professional committees for cultural heritage shemaintains collaborations with colleagues from academ-ic, cultural, forensic, and federal institutions.

Meghan Wilson is an imaging specialist in thePreservation Research and Testing Division at the Li-brary of Congress working on advanced spectral im-aging and processing techniques. She has establishedguidelines and documentation of work processes forequipment and image quality control to assure highquality standards for technical operation of the system.She has worked internationally training in system oper-ation, data management, and cataloging for efficientcollection of data and metadata.

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April 19-22, 2016 • Washington, DC

Register for 3 classes

and take 10% off the total

course registration fee.

See registration form for details.

Archiving 2016

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ArchSC06: Scanner & Camera ImagingPerformance: FADGI Imaging Guidelines andImplementation1:15 – 3:15 pm (2 hours)Instructors: Don Williams, Image Science Associ-ates, and Peter Burns, Burns Digital Imaging

This class furthers discussions begun in Arch-SC02 on simple and achievable tools/tech-niques to evaluate and control imaging per-formance; it may, however, be takenindependent of that course. Building from ourdiscussions of background and methods inArchSC02, we address how you can achieveyour goals for meeting FADGI and Metamor-foze guideline requirements. We do this us-ing specific and practical examples of theuse of ISO standards and institutional guide-lines in museum or library environments. Thefocus is on the selection and development oftest plans, performance measurements, ac-ceptance criteria, tests targets, and software.Suggestions and tools for maintaining goodimaging performance are included.

BenefitsThis course enables the attendee to:• Understand and compare imaging stan-dards and guidelines.

• Compare various levels of FADGI andMetamorfoze guidelines.

• Identify sources of performance variationin digital image reformatting.

• Introduce imaging quality control proce-dures into workflows.

• Develop test plans, and apply correctiveactions for ill-behaved performance.

• Use easy and non-disruptive methods tomonitor image quality.

Intended Audience: Managers, engineers, andtechnicians responsible for evaluating andmonitoring scanner and camera perform-ance, and emerging guidelines. This includesmanufacturers, service providers, and con-tent custodians. A working knowledge of dig-ital scanner and camera operation and theircommon technologies will be assumed.

Don Williams is founder of Image Science Associates,a digital imaging consulting and software group. Theirwork focuses on quantitative performance metrics fordigital capture of digital imaging devices and imagingfidelity issues for the cultural heritage community. Hehas worked for a number of large cultural heritage in-stitutes in practical implementation of image qualitycontrols and is the prime architect for the Golden-Thread image quality evaluation tools. He has taughtshort courses for many years and contributes to sever-al imaging standards activities.

Peter Burns is a consultant working in digital im-age evaluation, system monitoring, and image pro-cessing. He has experience in several areas of digitalimaging: digital photography, mobile imaging, andcultural heritage.

ArchSC07: Digital Collection Development1:15 – 3:15 pm (2 hours)Instructor: John Sarnowski, ResCarta Foundation

This introductory class focuses on the use ofopen/free software to create, validate, in-dex, search, display, and maintain a digitalarchive of various materials including photo-graphs, oral histories, newspapers, andbooks. Learn how to take simple digital filesand create a knowledge base of standard-ized archival digital objects, complete withLibrary of Congress metadata. Learn how tobuild a collection, and host it. Make your fulltext searchable oral histories to FADGI guide-lines. Capture audio files with Audacity®, usedigital cameras and scanners to create fulltext searchable, harvestable archives withTomcattm, ResCarta® and jOAI. Bring yourlaptop for this hands on session. Take the freeand open source tools and knowledge withyou to create a growing and sustainablearchive.

BenefitsThis course enables the attendee to:• Understand the types of equipment,software and time required to convertanalog objects to digital.

• Identify the various types of metadataand how they can be created.

• Understand the difference between adigital file and a digital object.

• Understand the use of OCR/AAT softwareand its limitations

• List best practice formats for long termstorage and reuse.

Intended Audience: This workshop is intended tobe relevant to a wide audience, particularlyto those cultural heritage professionals taskedwith converting analog materials to digital.

John Sarnowski has more than 25 years’ experience inbuilding digital collections. He was responsible forcreating millions of digital objects for learned soci-eties, libraries, and major corporations as the directorof Imaging Products at Northern Micrographics. Proj-ects included “The Making of America”, JSTOR, andHistoric Pittsburgh. He currently is a director of theResCarta Foundation.

NEW for 2016ArchSC08: Automatic Cropping and Deskewing:Theory, Use, and Supportive Workflows1:15 – 3:15 pm (2 hours)Instructor: Doug Peterson, Cultural Heritage

Manually cropping images is labor intensiveand tedious. Properly implemented, automat-ic cropping and deskewing can drasticallyreduce the time spent on this undesirable butessential task. But automatic cropping toolsare not panaceas with humanlike intelli-gence; they are just tools with strengths andweaknesses, abilities, and limitations.

This class covers some of the theory be-hind automatic cropping and discusses sever-al factors that determine the efficacy of an au-tomatic cropping solution. We’ll explore avariety of workflows and tools that ameliorateinherent limitations and challenges of auto-matic cropping and deskewing. For instance,we’ll discuss how to use a “Temporary Con-trast Prepass” to ensure accurate automaticcropping when there is limited tonal contrast

between the subject and the background(e.g. white paper on a white background).As a logical extension, we discuss variousways to batch manipulate the crop of a set ofimages. How to produce derivatives with andwithout an Object Level Target or page splitbooks is also addressed.

BenefitsThis course enables the attendee to:• Distinguish situations where automaticcropping and deskewing can be highlyeffective from situations where automaticcropping and deskewing is not currentlypossible

• Understand how an automatic croppingand deskewing algorithm detects theRegion of Interest

• Modify capture workflows to facilitateeffective automatic cropping anddeskewing

• Identify workarounds for situations thatwould typically challenge automaticcropping and deskewing tools

• Leverage automatic cropping anddeskewing to greatly increase total pro-ductivity

Intended Audience: This course is geared towardthose responsible for digitization. It is equal-ly helpful for those “in the trenches” of digiti-zation and managers thereof. Basic experi-ence with digitization workflows is important.Basic experience with Capture One CulturalHeritage 8 is helpful, but not essential. Previ-ous experience with automatic cropping anddeskewing workflows is not required; theclass begins with the basics before continu-ing to advanced topics.

Doug Peterson is head product manager at the DigitalTransitions Division of Cultural Heritage. He hashelped many clients implement and refine automaticcropping and batch cropping workflows and workedclosely with Phase One on their implementation ofAutoCrop in Capture One Cultural Heritage 8.

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NEW for 2016ArchSC09: Four-Light Imaging3:30 – 5:30 pm (2 hours)Instructor: Roy S. Berns, Munsell Color ScienceLaboratory

Placing lights above, below, to the left, andto the right of a painting or drawing and im-aging with one light at a time can be used tocharacterize the object’s diffuse color andmacrostructure (impasto), the latter definedby surface normal. These color and normalmaps and knowledge of the object’s materialproperties and gloss are used to render art-work for different lighting geometries usingcomputer graphics software such asAutodesk Maya with the mental ray renderer.This is a computational approach to lightingwhere the photographer can accentuate orminimize surface properties without re-shoot-ing, producing images appropriate for repro-graphics, archiving, and conservation. Thesystem is calibrated using a cue ball, whitefoam core, and a color calibration target.This technique is described and demonstrat-ed, including computer-graphics rendering.

BenefitsThis course enables the attendee to:• Use surface normal to define macrostruc-ture.

• Estimate surface normal using photometricstereo.

• Learn about four-light imaging techniqueto measure diffuse color and surface nor-mal maps.

• Understand the basics of computer graph-ics rendering.

Intended Audience:Museum, archive, and librarystudio photographers. Basic understandingof imaging paintings is assumed.

Roy S. Berns is the Richard S. Hunter Professor in col-or science, appearance, and technology within theprogram of color science at Rochester Institute of Tech-nology, where he developed both MS and PhD pro-grams in color science. He directs the Andrew W.

Mellon Studio for Scientific Imaging and Archiving ofCultural Heritage. He has received lifetime achieve-ment awards from the International Association ofColour, the Colour Group of Great Britain, and theInter-Society Color Council. He is an IS&T Fellow.

ArchSC10: Introduction and Explanation of theMetamorfoze Preservation Imaging Guidelines,version 1.0, 20123:30 – 5:30 pm (2-hours)Instructor: Hans van Dormolen, Hans vanDormolen Imaging & Preservation Imaging

In this course the what, why, and how of theMetamorfoze guidelines are explained. Tech-nical criteria and tolerances are also ad-dressed in an easy, comprehensible way.To use the Metamorfoze guidelines in dig-

itization projects the entire work flow has tobe organized according to the specs. Scan-ners and cameras have to be tuned accord-ing to the specs, technical targets have to beacquired, the daily use of technical targetshas to be implemented in the daily use andhandling by operators and photographers. Aquality management team or system has tobe organized to check the digital images ona regular base. To start working according tothe specs requires an investment of time andmoney, which is rapidly paid back by a ro-bust, reliable, predictable, and repeatableproduction of digitals images. To be able tomake this investment and to deal with unex-pected setbacks, broad and deep support ofmanagement is needed.

BenefitsThis course enables the attendee to:• Understand the Metamorfoze Guidelines.• Learn its criteria, tolerances, and techni-cal test charts in an easy comprehensibleway.

Intended Audience: Managers, photographers,operators and others from archives, librariesand museums who are involved in digitiza-tion projects wishing to learn more about the

Metamorfoze Preservation Imaging Guide-lines and its work flow.

Hans van Dormolen is the founder of Hans vanDormolen Imaging & Preservation Imaging (HIP). Heworks as an imaging consultant in the cultural heritagecommunity and at KB, the National Library of theNetherlands. He is the author of the MetamorfozePreservation Imaging Guidelines and author and co-author of several other Metamorfoze guidelines. Hansis a member of ISO TC42 JWG26, CIE Archival Col-or TC08 and IS&T. He received an IS&T ServiceAward for his work in objective capture practices forcultural heritage imaging in 2014.

NEW for 2016ArchSC11: Assessing Formats for Preservation3:30 – 5:30 pm (2 hours)Instructors: Andrea Goethals and DavidAckerman, Harvard Library

This course provides attendees with an intro-duction to evaluating and comparing file for-mats for acceptance or use in preservationsystems or workflows using the process usedby Harvard Library to write policies for whichformats are preferred and accepted in the Li-brary's digital preservation repository—theDigital Repository Service (DRS). It introducesa format matrix tool used for the assessments,shows how it has been used to make deci-sions about different kinds of formats (video,word processing, CAD and video image se-quence), and leads to an exercise in whichall attendees get hands-on experience usingthe format matrix tool to assess formats forlong-term preservation.

BenefitsThis course enables the attendee to:• Learn about criteria that can be used toassess and compare candidate formatsfor use in long-term preservation systems.

• Learn how to use the Library’s matrix toolto compare formats for preservation.

• Gain experience using the Library’s for-mat matrix tool so that it can be adapted

by the attendee for additional formats orfor the criteria that is most important tothe attendee’s institution.

Intended Audience: Managers, administrators,technicians, and others responsible for creat-ing policies, guidelines, or specifications forfile formats for long-term preservation, or thatneed to make decisions about formats fordigitization projects when the content is in-tended to be usable long-term.

Andrea Goethals is responsible for providing leader-ship in the development and operation of Harvard'sdigital preservation program and for the managementand oversight of the Digital Repository Service (DRS),Harvard's large scale digital preservation repository.She leads the National Digital Stewardship Residency(NDSR) Boston program, participates in the Internation-al Internet Preservation Consortium (IIPC) PreservationWorking Group, and is the co-chair of the NationalDigital Stewardship Alliance (NDSA) Standards andPractices Working Group.

David Ackerman is the head of media preserva-tion for the Harvard Library. Prior to that he managedAudio Preservation Services for the Harvard CollegeLibrary. He co-chairs AES SC-07-01, Working Groupon Audio Metadata Standards and AES TC-ARDL,Technical Committee on Archives, Digital Libraries andRestoration.

NEW for 2016ArchSC12: Bountiful Harvest: Curation, Collection,and Use of Web Archives3:30 – 5:30 pm (2 hours)Instructors: Maria LaCalle and Jefferson Bailey,Internet Archive

This course introduces participants to basicweb archiving concepts and challenges. Thefocus is on direct hands-on experience creat-ing a collection of content archived from theweb. Using the Archive-It (www.archive-it.org) web application, participants selectwebsites for preservation, which can includetheir own organization’s web presence, so-cial media, digital exhibitions, blogs, news,

April 19-22, 2016 • Washington, DC

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datasets, or other content publicly availableon the web. Quality assurance, metadata,and the web archiving lifecycle, includingpolicy decisions, is addressed. The coursedemonstrates ways that researchers can useweb archives, as well as basic methods andtools to support data mining and other typesof analysis. Participants leave the course witha searchable archive, including the option ofdownloading WARC (web archive files) filesfor long-term preservation or research

BenefitsThis course enables the attendee to:• Define web archiving terms and technolo-gies and demonstrate the value of webarchiving.

• Appraise, harvest, and curate a collectionof web content for preservation and use.

• Solve basic web archiving challenges, in-cluding scoping of content to be cap-tured, identifying crawler issues, andquality assurance.

• Explain current landscape of web archiv-ing including recent areas of developmentfor capture and playback and emergingcommunity and interoperability models.

• Outline tools for research use of webarchives, including data mining anddatasets.

Intended Audience: Professionals responsible fordigital library services, digital archives, col-lection management, and digital curation.No prerequisite knowledge of or experiencewith web archives, coding, web protocols,the WARC format, or data mining is neces-sary. Time is allotted to additional webarchiving tools, emerging technologies, andtools supporting research and analysis.

Maria LaCalle is web archivist for partner services atInternet Archive. She provides training, support, andadvocacy for web archiving related projects includingwork on the Archive-It service. She received an MA inhistory and certificate in archival management fromNYU and is a certified archivist with the Academy ofCertified Archivists.

Jefferson Bailey is director of web archiving pro-grams, managing the Archive-It (IA) service, contractweb archiving services, and research, grant, and ed-ucation programs at Internet Archive. Prior to joiningIA, he worked on strategic initiatives, digital preserva-tion, archives, and digital collections at institutionssuch as the Metropolitan New York Library Council,Library of Congress, Brooklyn Public Library, and FrickArt Reference Library, and has worked in the archivesat NARA, NASA, and Atlantic Records. He has taughtdigital preservation, numerous workshops on data min-ing web archives, and has an MLIS in archival studiesfrom University of Pittsburgh.

Participate in the Archiving 2016 ExhibitionWednesday April 20 and Thursday April 21

Tabletop exhibition featuring digital archiving related products and services.

For details, contact Donna Smith • dsmith@imaging.org; +1-703-642-9090 x107

The Interactive Paper Session always generatesmuch discussion and interest.

Photo:ChristophVoges.

April 19-22, 2016 • Washington, DC

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Technical Program*

Wednesday April 20, 2016

9:00 – 10:00 AMWELCOME AND KEYNOTESession Chairs: Kari Smith, Massachusetts Institute ofTechnology Libraries (USA); Ulla Bøgvad Kejser, TheRoyal Library (Denmark); and Peter Burns, BurnsDigital Imaging (USA)Spectral Imaging of Manuscripts: Recovery ofthe Past and Preservation for the Future,Roger Easton, Rochester Institute of Technology,and Keith Knox, consultant (USA)

10:00 AM – 12:10 PMADVANCED IMAGINGTECHNIQUESSession Chair: Peter Burns, Burns Digital Imaging (USA)Spectral Imaging for Preservation Documenta-tion, Fenella G. France, Library of Congress (USA)Burned Record Imaging at NARA, Noah W.Durham, The National Archives RecordsAdministration (USA)Digital Materiality with Enhanced ReflectionTransformation Imaging, Peter Fornaro,Andrea Bianco, and Lukas Rosenthaler,Universität Basel (Switzerland)Post Processing of Reflectance TransformImaging for Isolation of Surface Impressions,Kurt Heumiller, Jens Stenger, Soyeon Choi, andChelsea Graham, Yale University (USA)

12:10 – 12:30 PMEXHIBITOR PROFILES

12:30 – 2:00 PMTOPICAL DISCUSSION BROWNBAG LUNCHOptional networking event. Lunch notprovided.

2:00 – 3:10 PMASSET MANAGEMENTSession Chair: Christoph Voges, consultant (Germany)Summarization and Classification ofCNN.com Articles Using the TFxIDF Family ofMetrics (Focal),Marie Vans and Steven Simske,HP Inc. (USA)

Scalable Processing and Search in Package-based Repositories, Sven Schlarb, RainerSchmidt, Mihai Bartha, and Roman Karl,Austrian Institute of Technology (Austria)Defense Visual Information StorageChallenges and Lessons Learned, Paul G.Robinson, Defense Media Activity (USA)

3:10 AM – 3:40 PMINTERACTIVE PAPER PREVIEWSSession Chair: Kari Smith, Massachusetts Institute ofTechnology Libraries (USA)Going Digital at the Wellcome Library: TheEvolution of Digital Imaging and Innovation,Danae M. Dracht, Wayne State University(USA)Fulfill your Digital Preservation Goals with aBudget Studio, Yongli Zhou, Colorado StateUniversity Libraries (USA)Improving Brand Reputation of the DoD VIArchive, Lisa Wesneski, Defense ImageryManagement Operations Center (USA)A Hybrid Technique of Image DenoisingUsing the Curvelet Transform based Denois-ing Method and Two-Stage Image Denoisingby PCA with Local Pixel Grouping, MouradTalbi and Adnen Cherif, Sciences Faculty ofTunis (Tunisia)Visual Information (VI) Ingest ProcessImprovement, Barbara Burfeind, DefenseMedia Activity (USA)Lifecycle Management Workflow, AprilAlexander, Defense Imagery ManagementOperations Center (USA)Data Reader for Write Once, Read Forever(WORF) Interference Spectra Media, Richard JSolomon1, 2, Eric Rosenthal1, 3, Clark Johnson1,Jonathan M. Smith2, Melitte Buchman3,William Butterfield1, and Donald Carlin1;1Creative Technology LLC; 2University ofPennsylvania; and 3New York University (USA)

*Program subject to change; see final program for exacttimes and paper order. Note that focal talks are 30 min-utes in length; traditional papers, 20 minutes; and interac-tive previews 2 minutes, with discussions held during theWednesday afternoon and Friday morning coffee breaks.

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Towards Building a Framework for Access atthe National Archives of Zimbabwe, ForgetChaterera1,2 and Patrick Ngulube1; 1Universityof South Africa and 2National University ofScience and Technology (Zimbabwe)Securing Defense Visual Information in aCommercial Environment, Juan Vargas-Matosand Paul G. Robinson, Defense Media Activity(USA)Archiving Email: Relevant Business Modelsand Drivers of Preservation, Kristen C.Ratanatharathorn, The Andrew W. MellonFoundation (USA)Digitally Archiving History: A Game Plan forLarge, Unruly Archival Collections with Limit-ed Staffing, Virginia A. Dressler, Kent StateUniversity (USA)Digitizing 16mm, 35/32mm, and 35mmOptical and Magnetic Sound Elements, ChrisReynolds, Deluxe Media, Inc. (USA)

3:40 – 4:40 PMINTERACTIVE PAPER SESSION IAND EXHIBITION

4:40 – 5:40 PMPRESERVATION FORMATS ANDFRAMEWORKSSession Chair: David Walls, US Government PrintingOffice (USA)Long-Term Preservation and Archival FileFormats: Concepts and Solutions, PeterFornaro and Lukas Rosenthaler, UniversitätBasel (Switzerland)On the Potential of Film as a Digital StorageMedium, Christoph Voges, consultant(Germany)The International Image InteroperabilityFramework and its Implication to Preserva-tion, Lukas Rosenthaler and Peter Fornaro,Universität Basel (Switzerland)

6:00 – 9:00 PMCONFERENCE RECEPTIONHill Country Barbeque, 410 7th St NW

Thursday April 21, 2016

9:00 – 10:40 AMWELCOME, SOCIETY AWARDS,AND IMAGING STANDARDS ANDQUALITY ASSURANCESession Chair: Roy Berns, Munsell Color ScienceLab/RIT (USA)Recent Activities of the FADGI Still ImageWorking Group (Focal), Thomas Rieger, Libraryof Congress (USA)Going Mobile: Evaluating SmartphoneCapture for Collections, Peter D. Burns, BurnsDigital Imaging, and Don Williams, ImageScience Associates (USA)Quality Assurance in Mass DigitizationProjects, Martina Hoffmann, National Libraryof the Netherlands (the Netherlands)Image Quality Analysis based on ISO 19264,Dietmar Wueller, Image Engineering GmbH &Co. KG (Germany), and Ulla Bøgvad Kejser,The Royal Library (Denmark)

11:20 AM – 12:40 PMIMAGING STRATEGIES ANDWORKFLOWSSession Chair: Don Williams, Image ScienceAssociates (USA)Evolution of the Historical Moving PicturesDigitization Program at the National Libraryof Medicine, John Rees, John Doyle, and DoronShalvi, National Library of Medicine (USA)Copies and Originals, Preservation andAccess: The Art of Balance in a Digital World,Niels Bønding, Gry Vindelev Elstrøm, andKaren Williams, State and University Library(Denmark)Digitisation at Scale: Automating the MassAcquisition of Digitised Content, DaveThompson, Wellcome Library (UK)Developing an Open-Source WorkflowTracking Tool for Digitization Projects, SteffenHankiewicz, intranda GmbH (Germany)

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April 19-22, 2016 • Washington, DC

2:00 – 3:10 PMDISSEMINATION AND USESession Chair: Marie Vans, HP Inc. (USA)Unlocking the Archives of Displacement andTrauma: Revealing Hidden Patterns and Ex-ploring New Modes of Public Access throughInnovative Partnerships and Infrastructure(Focal), Diane M. Travis, Magdalena Rojas,Anuj Nimkar, Gregory Jansen, NicholasDiakopoulos, and Richard Marciano, Universityof Maryland (USA)Unlocking the Archive: The Defense Depart-ment’s Plan to Make Unreleased AudiovisualRecords Public, E. Thomas, Defense MediaActivity (USA)Examining the Reuse of Digital Video asQualitative Data, Rebecca D. Frank, KaraSuzuka, and Elizabeth Yakel, University ofMichigan (USA)

3:30 – 6:00 PMBEHIND-THE-SCENES TOURSsee page 17 for details

Friday April 22, 2016

9:00 – 10:00 AMWELCOME AND KEYNOTESession Chair: Kari Smith, Massachusetts Institute ofTechnology Libraries (USA)Implementing Practices that Lead to Use orReuse of your Collections, Emily Gore, DigitalPublic Library of America (USA)

10:00 AM – 12:20 PMMETADATA STANDARDS ANDIMPLEMENTATION*Session Chair: Kari Smith, Massachusetts Institute ofTechnology Libraries, and Anne Mason, Library ofCongress (USA)Implementing PREMIS Version 3, RebeccaGuenther, Rebecca Guenther Consulting (USA)Embedding Metadata in Large-Scale LegacyDigital Audio Collections, Ryan Edge,Michigan State University Library (USA)

Digital Preservation of Audiovisual Materials:The State of the Art, Edward M. Corrado,University of Alabama Libraries, and HeatherLea Moulaison, iSchool at the University ofMissouri (USA)US Department of Defense Metadata Stan-dards for Visual Information, Julia Hickey,Defense Media Activity, and Thomas M. Ruyle,Defense Imagery Management OperationsCenter (USA)

12:20 – 2:00 PMTOPICAL DISCUSSION BROWNBAG LUNCHOptional networking event. Lunch notprovided.

2:00 – 3:10 PMIMAGE COLOR SCIENCE ANDANALYSIS TOOLSSession Chair: Dietmar Wüller, Image EngineeringGmbH & Co. KG (Germany)Image Color Correction, Validation, and Test-ing (Focal), Don Williams, Image ScienceAssociates, and Peter D. Burns, Burns DigitalImaging (USA)Modification of CIEDE2000 for AssessingColor Quality of Image Archives, Roy S.Berns, Rochester Institute of Technology (USA)OpenDICE Software, Lei He, Library ofCongress (USA)

3:10 – 4:10 PMEVALUATION AND IMPACTSession Chair: Lukas Rosenthaler, Universität Basel(Switzerland)The Role of Digital Collections in ScholarlyCommunications, Harriett Green, University ofIllinois at Urbana-Champaign, and AngelaCourtney, Indiana University Bloomington (USA)Making Digitization Count: Assessing the Val-ue and Impact of Cultural Heritage Digitiza-tion (Focal), Emily Frieda Shaw, The Ohio StateUniversity Libraries (USA)

4:10 – 5:00 PMCLOSING REMARKS, BESTINTERACTIVE PAPER AWARD,AND FAREWELL RECEPTION

* Another opportunity to talk with Interactive Paper presen-ters will occur during the middle of this session during thecoffee break.

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Behind-the-Scenes ToursAll tours will take place Thursday afternoon.They are reserved on a first-come, first-servedbasis. Tour registration information and logis-tic details will be sent immediately followingthe early registration deadline to anyone reg-istered by that date. Those who register afterthe early registration deadline will receive thetour registration form at that time. Please notethat all tours will be within walking or publictransport distance; attendees are responsiblefor getting themselves to the tour site.

LIBRARY OF CONGRESSPreservation DirectorateLearn about several key digitization activitiesof the Preservation Directorate at the Libraryof Congress, including digital imaging, con-servation for digitization projects, and digitalreformatting. Preservation scientists, conser-vators, and other specialists present work-flows involved in these efforts, as well as on-going science research in non-invasivematerial analysis, management and accessof data, and the preservation challenges ofoptical media and magnetic tape. Acollaborative project in non-invasive imagingthat enables playback of a digital image ofgrooved media, rather than playback of thegrooved media itself by traditional stylus, isalso included.

NATIONAL ARCHIVES ANDRECORDS ADMINISTRATION(NARA)NARA Innovation Hubwww.archives.gov/innovation-hub/This tour takes participants through NARA’sInnovation Hub, a unique and collaborativespace where individuals work on innovativeprojects and programs to move the agencyforward. The Hub was designed to encour-age staff and researchers to become moreinvolved with NARA’s mission to increase the

number of records digitized, thereby strength-ening the ‘core’ systems that serve asplatforms for all online access, specificallyNARA’s Online Public Access catalog andArchives.gov.

The Innovation Hub is currently focusedon a Citizen Scanning initiative wherebyresearchers use the Hub’s scanners for free inexchange for helping scan files that areuploaded to the NARA catalog. In exchange,the researchers may take a copy of the scanwith them. In the first three months the Hub wasopen, citizens scanned 15,000 pages fromnearly 1,000 files to be added to the catalog.

The processes and equipment used tosupport these efforts, as well as workflowand supervision, will be discussed. In addi-tion, tour participants will learn more aboutother Hub initiatives, such as “transcribe-a-thons”, Wikipedia “edit-a-thons”, and otherevents and meetings that work with NARArecords in innovative ways.

NATIONAL GALLERY OF ARTDivision of Imaging & Visual Services (DIVS)images.nga.govDIVS welcomes attendees to its painting stu-dio A. Alan Newman will begin a guidedtour through the imaging facilities and thenbe joined by Greg Williams and LoreneEmerson in the painting studio. There they re-view the workflow for shooting paintings withultra-resolution using a computer controlledSmartDrive easel to position elements of thepainting for photography. A discussion fol-lows of the Gallery’s open access imagerepository NGA Images at images.nga.govand demonstrates some its functionality.

Materials on the SmartDrive easel l, andour guide to reproduction for our files, will bemade available. A brief overview of the nextenterprise Digital Asset Management system(eDAM) is included as well as a brief tour ofthe imaging facilities.

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April 19-22, 2016 • Washington, DC

Not a member? Join today and calculate all fees based on member rates. See also below forregistration/membership all-in-one options.

Membership expires 12/31/16; for students, 9/30/16.___ $95 US address ___$105 overseas address ___$25 Student Total $ _____Select one complimentary online journal: J.Imaging Sci & Tech J.Electronic Imaging

Conference registration includes admission to all technical sessions, coffee breaks, Meet & Greetand Conference Reception, and conference proceedings. Separate registration fees are required forshort courses.

1. Please check all that apply. I am a

speaker session chair committee member IS&T member only taking short courses short course instructor

2. Conference RegistrationRegister early and save $100. After March 21, 2016 add $100 to conference registration fee noted below.To better serve you, IS&T is offering conference registration options that include membership (new or renewal).Register for just the conference or register for the conference plus IS&T membership, with your choice of an onlinesubscription to the Journal of Imaging Science and Technology (JIST) or Journal of Electronic Imaging (JEI).

on or before afterMarch 21 March 21 TOTAL

___ Member $510 $610 $ _____

___ Non-member $610 $710 $ _____

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Membership begins within 2 weeks of registration and expires 12/31/16. $610 $710 $ _____

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Membership begins within 2 weeks of registration and expires 09/30/16. $200 $300 $ _____

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___ One-day: Wed Thurs Fri $295 $295 $ _____

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Archiving 2016 Conference RegistrationPrefix_______ Given name ________________________ Family name_____________________________

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3. Short Course Registration (be sure to multiply number of classes by per course fee and place on total line)Please note: Course notes for most classes are provided electronically prior to the conference for printing or view-ing on your computer. Instructors without e-notes will provide hardcopies in class.

on or before afterMarch 21 March 21 TOTAL

3-hour Member (per class; select below) $190 $240 $ _____3-hour Non-member (per class; select below) $205 $255 $ _____3-hour Student (per class; select below) $85 $135 $ _____

Check all that apply Arch SC01 Arch SC02 Arch SC03 Arch SC04

2-hour Member (per class; select below) $140 $190 $ _____2-hour Non-member (per class; select below) $165 $215 $ _____2-hour Student (per class; select below) $60 $110 $ _____

Check all that apply Arch SC05 Arch SC06 Arch SC07 Arch SC08 Arch SC09 Arch SC10 Arch SC11 Arch SC12

ORTake ANY three classes and receive 10% off the total price

(enter three, fill in member or non-member fee next to each, add, and multiply by .90 to get yourprice, representing 10% savings; add additional lines if needed; students may not take advantage ofthis offer)

SC____ $ _____ + SC____ $ _____ + SC____ $ _____ = $______ x .90 =$ _____

4. Extras___ Extra copy of conference proceedings Note: One copy comes with conference registration. $100 $ ________ Guest ticket for Meet and Greet and Conference Reception $85 $ _____Name/Affiliation of Guest for badge: ________________________________________

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Contact registration@imaging.org for wire transfer information.Please note: $25 must be added to the total for wire transfer payments to cover bank costs.

Please note: To cover bank charges and processing fees, there is a cancellation fee of $75 untilApril 12, 2016. After that date, the cancellation fee is 50% of the total plus $75.

No refunds will be given after May 3, 2016. All requests for refund must be made in writing.

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