archiving 2017 preliminary program - imaging · associates(usa) shortcoursechair...

www.imaging.org/archivingGeneral Chairs:Ulla Bøgvad Kejser, Det Kongelige Bibliotek/The Royal Library (Denmark)David Walls, US Government Publishing Office (USA)

PRELIM

INARY

PROGRA

M ARCHIVING2017May 15-18, 2017 • Riga, Latvia

Sponsored by the Society for Imaging Science and Technologyin partnership with the National Library of Latvia and theLatvian Musuem of Photography

May 15-18, 2017 • Riga, Latvia

©2017 Society for Imaging Science and Technology (IS&T).

Cover image: House of the Blackheads, Old Town Riga — © All rights reserved by Latvia Travel.

General Co-chairsUlla Bøgvad Kejser,*Det Kongelige Bibliotek/TheRoyal Library (Denmark)David Walls,* US GovernmentPublishing Office (USA)

Program ChairDon Williams,* Image ScienceAssociates (USA)

Short Course ChairKathrine Hougaard EdsenJohansen,* Copenhagen CityArchives (Denmark)

Technical Program CommitteeMichael J. Bennett, Universityof Connecticut (USA)Peter Burns,* Burns DigitalImaging (USA)Erik Landsberg, CulturalHeritage DigitizationConsulting (USA)Phil Michel, Library ofCongress (USA)Christoph Voges, Hochschulefür angewandte Wissenschaftund Kunst (HAWK), andconsultant (Germany)

Steering CommitteeThose at left with an asterix (*)after their name +Suzanne E. Grinnan, IS&T(USA)Kari Smith, MIT Libraries,Institute Archives and SpecialCollection (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, muse-ums, records management repositories, infor-mation technology institutions, and commercialenterprises to explore and discuss the field ofdigitization of cultural heritage and archiving.The conference presents the latest research re-sults on digitization and curation, provides aforum to explore new strategies and policies,and reports on successful projects that canserve as benchmarks in the field. Archiving2017 is a blend of short courses, keynote talks,peer-reviewed oral and interactive (poster)presentations, an exhibit, and social events of-fering attendees a unique opportunity for gain-ing and exchanging knowledge and buildingnetworks among professionals.

Conference Partners

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

NEW FOR 2017Conference registration includes

a group lunch each day in the restaurant at theNational Library of Latvia.

Archiving 2017

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Conference At-a-GlanceAll short courses will take place at theAvalon Hotel and Conferences, 13. Janvara iela19, Riga. Technical sessions will take place at theNational Library of Latvia (LNB), Makusalas iela3 (use main entrance on Uzvaras bulvaris).

Monday, May 15• Short Course Program (see page 7);

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

• Welcome Reception at Latvian Museumof Photography, Mārsta�u 8, at 17:45;located 3 blocks from Avalon Hotel.

Tuesday, May 16• Opening Panel: State-of-the-Art of

Archiving in the Baltics• Exhibition Opens• Exhibitor Previews• Group Lunch• Technical Papers Program

- Asset and Collection Management I- Advanced Imaging I- Access, Dissemination, and Use I

• Dinner on own with colleagues

Wednesday, May 17• Wednesday Keynote: Collecting and

Preserving the Born-Digital Heritage—New Aspects of an Old Challenge,Raivo Ruusalepp, director of develop-ment, National Library of Estonia

• Group Lunch• Exhibition Closes• Technical Papers Program

- Interactive Paper (Poster) Previews- Interactive Paper (Poster) Session- Imaging Performance and

Standards I- Asset and Collection Management II

• Behind-the-Scenes Tours; see page 6.- National Library of Latvia

• Conference Reception, locationforthcoming

Thursday, May 18• Thursday Keynote: Resonating Spaces:

3D imaging of the Berlin Philharmonie,Chris Edwards, head of digital services,Getty Research Institute (USA)

• Group Lunch• Technical Papers Program

- Advanced Imaging II- Access, Dissemination, and Use II- Imaging Performance and

Standards II

Registration Desk OpenMonday, May 157:45 – 16:30 at Hotel Avalon17:45 – 18:15 at Latvian Museum ofPhotography

Tuesday, May 16 8:00 – 16:00 at LNBWed., May 17 8:30 – 14:00 at LNBThursday, May 18 8:30 – 14:00 at LNB

Important DatesHotel registration deadline:

April 14, 2017

Early conference registrationdeadline:

April 16, 2017

Exhibit at Archiving 2017Tuesday May 16 and Wednesday May 17Tabletop exhibit featuring digital archiv-

ing related products and services.For details, contact Donna Smith •

[email protected]; +1-703-642-9090 x107


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The Venue: Riga, LatviaFounded in 1201, Riga’s historical Old Townis a UNESCO World Heritage Site noted forits Art Nouveau (“Jugendstil”) and 19th cen-tury wooden architecture. It is considered bymany to have the finest examples of Art Nou-veau architecture in the world, most groupedin one neighborhood of the city. At the sametime it also boasts Gothic cathedrals, Neo-classic buildings, and compelling modernstructures, such as the National Library ofLatvia and the Vansu Bridge. As the capital ofLatvia, Riga hosts nearly one-third of thecountry’s population and is the largest city inthe Baltics.

Its location on the Gulf of Riga at the mouthof the Daugava River and its proximity tobeautiful beaches like Jurmala, add to itscharm. There are plenty of cafes, restaurants,winding cobbled streets, picturesque squares,museums, and monuments to explore in thecity, ranging from the Latvian Museum ofPhotography and the Riga Film Museum tothe Museum of the Occupation of Latvia andthe Latvian Ethnographic Open Air Museum.

Conference VenuesArchiving 2017 technical sessions take placeat the National Library of Latvia. Short cours-es and lodging are at Avalon Hotel & Confer-ences (see page 19 for lodging and transporta-tion details). Visit www.latvia.travel/en/city/riga-8 for more information on what to seeand do in Riga.

From above: View from Hotel Avalon onto the roofs of Old Town; window, Riga Art Nouveau Museum;boats marking the history of Riga are found along the banks of the city canal, which runs through the parkthat separates Old Town from Riga Center.

The Historic Centre of Riga is a living illustration of Euro-pean history. Through centuries, Riga has been the centreof many historic events and a meeting point for Europeannations, and it has managed to preserve evidence of Eu-ropean influence on its historical development, bordersbetween the West and the East, and intersection of trad-ing and cultural routes. “

—whc.unesco.org/en/list/852

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Technical Program*

Tuesday May 16, 2017

9:00 – 10:25WELCOME AND OPENING PANELWelcome Remarks, Andris Vilks, director,National Library of LatviaState-of-the-Art of Archiving in the Baltics,Join moderator Uldis Zarins, director of devel-opment at the National Library of Latvia, former-ly manager of The European Library, and pan-elists Rimvydas Laužikas, professor at VilniusUniversity, Raivo Ruusalepp, director of devel-opment at the National Library of Estonia, andArturs Zogla, head of digital library at NationalLibrary of Latvia for a discussion about archiv-ing in Estonia, Latvia, and Lithuania.

11:05 – 12:20ASSET AND COLLECTIONMANAGEMENT IMy Precious Information—How to Preserve It?,Anssi Jääskeläinen, Miia Kosonen, and LiisaUosukainen, Mikkeli University of AppliedSciences (Finland)TIFF in Archives: A Survey about Existing Filesin Memory Institutions, Peter Fornaro, LukasRosenthaler, and Erwin Zbinden, University ofBasel, and Martin Kaiser, KOST-CECO(Switzerland)Archiving Websites Containing StreamingMedia, Howard Besser, New York University(USA)

12:20 – 12:40EXHIBITOR PROFILES

12:40 – 14:00GROUP LUNCHRestaurant Klīversala within the LNB

14:00 – 15:15ADVANCED IMAGING IFrom Closed Testaments to Books: VirtualX-Ray Reading as Alternate DigitizationTechnology for Fragile Documents, FauziaAlbertin1, Marilisa Romito1, Eva Peccenini2,3,4,Matteo Bettuzzi2,3,4, Rosa Brancaccio2,3,4,Maria Pia Morigi2,3,4, Monica Del Rio5, DoritRaines6, Giorgio Margaritondo1, and DemetriPsaltis1; 1École Polytechnique Fédérale deLausanne (EPFL) (Switzerland), 2"E. Fermi" Center,3University of Bologna, 4Italian NationalInstitute for Nuclear Physics (INFN), 5VenetianState Archive, and 6University of Ca’ Foscari(Italy)

Precise 3D Documentation—Between theNeed of a High Resolution and the Limit ofVisualization Possibilities, Eryk Bunsch,Museum of King Jan III's Palace at Wilanow,and Robert Sitnik, Warsaw University ofTechnology (Poland)Image based Relighting Using EnvironmentMaps, Michael Tetzlaff and Gary Meyer,University of Minnesota (USA)

15:55 – 17:10ACCESS, DISSEMINATION, ANDUSE ISimple Image Presentation Framework(SIPI)—An IIIF-based Image-Server, LukasRosenthaler, Peter Fornaro, and Andrea Bianco,University of Basel (Switzerland)Content-based Interoperability: Beyond theMerely Technical Specifications of Interfaces,Tobias Schweizer, Lukas Rosenthaler, and PeterFornaro, University of Basel (Switzerland)Advances in Integrated Research Infrastruc-tures for Science and Humanities LinkedData, Fenella France, Library of Congress(USA)

*Program subject to change; see final program for exacttimes and paper order.


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Wednesday May 17, 2017

9:00 – 10:10WEDNESDAY KEYNOTECollecting and Preserving the Born-DigitalHeritage—New Aspects of an Old Challenge,Raivo Ruusalepp, National Library of Estonia(Estonia)

10:10 – 10:30INTERACTIVE PAPER PREVIEWSA Bottom-up Approach to Carry out Pre-Studies for the Implementation of ElectronicArchives—A Case Study from a SwedishMunicipality, Hugo Quisbert, ArkivIT (Sweden)Using 3D Digitization in the Preservation ofIndustrial and Agricultural Heritage, TineVerroken, Bert Lemmens, and Renee Mestdagh(Belgium)Open Source Software to Manage Digitaliza-tion Projects—The Kitodo Example, FrankUlrich Weber1 and Michael Luetgen1,2;1Zeutschel GmbH and 2Kitodo—Key to digitalobjects e.V. (Germany)Digital Color Restoration from Slide Imageswhich use the Color Target Kodak Q-13,Alexandre Leão, UFMG—Federal University ofMinas Gerais (Brazil)Set of Methodologies for Archive Film Digiti-zation and Restoration with Examples ofTheir Application in ORWO Region, KarelFliegel, Stanislav Vítek, and Petr Páta, CzechTechnical University in Prague; and MiloslavNovák, Jiri Myslik, Josef Pecak, and MarekJicha, Film and TV School of Academy of Per-forming Arts in Prague (Czech Republic)Implementing a Video Framework based onIIIF: A Customized Approach from Long-TermPreservation Video Formats to Conversion onDemand, Julien Raemy1,2, Peter Fornaro1, andLukas Rosenthaler1; 1University of Basel and2Ecole Polytechnique Fédérale de Lausanne(EPFL) (Switzerland)Developing ARCLib—An Open SourceSolution for a Bit-level and Logical Long-termPreservation, Andrea Miranda, CharlesUniversity (Czech Republic)

10:30 – 11:20INTERACTIVE PAPER (POSTER)SESSION AND COFFEE

11:20 – 12:35IMAGING PERFORMANCE ANDSTANDARDS IAutomatization in (Mass) DigitizationQA-workflows, Martina Hoffmann, NationalLibrary of the Netherlands (the Netherlands)Extensions to OpenDICE: Batch ImageProcessing and Large Size Target Support,Lei He, Library of Congress (USA)Evaluating Perceived Capture Quality for theDigitization of Cultural Heritage Objects,Susan Farnand, Rochester Institute ofTechnology (USA)

12:35 – 13:45GROUP LUNCHRestaurant Klīversala (LNB)

13:45 – 15:00ASSET AND COLLECTION MANAGEMENT IIWork Ethics for the Digitizer. Opportunities and Best Practices for Production of Digital Archives: The Working Experience of the Photographic Archive of Pompeii, Patrizio Gianferro, University degli Studi di Roma La Sapienza, and Rosa Myriam De Lillo, Luigi Sturzo Institute (Italy) A New Tool for Context Metadata Collection and Management for Computational Photog-raphy Projects, Carla Schroer and Mark Mudge, Cultural Heritage Imaging (USA), and Erich Leisch and Martin Doer, Institute for Computer Science, FORTH (Greece) Identifying Top Performing TF*IDF Classifiers Using the CNN Corpus, Marie Vans and Steven Simske, HP Inc. (USA)

15:30 – 17:30BEHIND-THE-SCENES TOURSsee page 6 for details

19:00 – 21:30CONFERENCE RECEPTION

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Thursday May 18, 2017

9:00 – 10:00THURSDAY KEYNOTEResonating Spaces: 3D Imaging of the BerlinPhilharmonie, Chris Edwards, Getty ResearchInstitute (USA)

10:00 – 12:45ADVANCED IMAGING IIReflectance Transformation Imaging inDaguerreotype Investigation, Hembo Pagiand Andres Uueni, Archaeovision and KadiSikka Estonian Photographic Heritage Society(Estonia)Advances in Spectral Imaging Curve Analysisfor Humanities Studies and Heritage Science,Fenella France, Library of Congress (USA)Next Generation Camera Calibration Targetfor Archiving, David Wyble, Avian Rochester,LLC (USA)The Documentation and Investigation of Sur-face Deposits on a Tutankamun’s Pottery JarUsing Advanced Imaging Techniques,Mahmoud Hassan, Grand Egyptian Museum(Egypt)The Combination of 3D and MultispectralImaging for Scientific Visualization—Tool forConservation and Heritage Specialists,Andres Uueni and Hilkka Hiiop, EstonianAcademy of Arts (Estonia)

12:45 – 14:00GROUP LUNCHRestaurant Klīversala within the LNB

14:00 – 15:15ACCESS, DISSEMINATION, ANDUSE IIUnlocking the Archive: The US DefenseDepartment’s Analysis & Implementation ofits Authority to Publicly Release AudiovisualRecords, Julia Hickey, Defense Media Activity(USA)Using a Large Set of Weak Classifiers for TextAnalytics, Steven Simske and Marie Vans, HPInc. (USA)

The Evolution of the US National ArchivesCatalog: From Access to Engagement,Michael Horsley, National Archives andRecords Administration (USA)

15:45 – 17:15IMAGING PERFORMANCE ANDSTANDARDS IIJPEG2000 as a Preservation Format for Digi-tization: Lessons Learned from a Library,Laurent Duplouy, Bibliothèque Nationale deFrance (France)Automation of Data Integrity Checks in QAfor Mass Digitization—A Case Study, Martijnvan der Kaaij, Heron Information ManagementLLP (UK)A Decade of Experience with Digital ImagingPerformance Guidelines: The Good, the Badand the Missing?, Don Williams, ImageScience Associates, and Peter Burns, BurnsDigital Imaging (USA)

Charming restaurants and cafes are found through-out Riga’s Old Town.

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Behind-the-Scenes ToursAll tours will take place Wednesday after-noon. They are reserved on a first-come, first-served basis. Tour registration informationand logistic details will be sent immediatelyfollowing the early registration deadline toanyone registered by that date. Those whoregister after the early registration deadlinewill receive the tour registration form at thattime. Please note that all tours will be withinwalking or public transport distance; atten-dees are responsible for getting themselves tothe tour site.

Additional tours will be added as confirmed.

NATIONAL LIBRARY OF LATVIADigitization Center and Collection ofAudio-visual Resources

This tour is dedicated to digitization, preser-vation, restoration and audio-visual collec-tions.

The Digitization Center of the NationalLibrary of Latvia (LNB) carries out digitizationof physical collections in accordance with theLNB content guidelines and on readers’ de-mands. The LNB is constantly digitizing news-papers, posters, maps, sound recordings andmanuscripts. At the Digitization Center is

available a large-format scanner which en-ables scanning of materials up to A0 format,book scanning robot and roll scanner, aswell as other scanning devices for small for-mat materials. Digitization Center also en-sures post-processing of digitized files, suchas OCR and segmentation. The major part ofdigitization results can be accessed atwww.periodika.lv and www.zudusilatvija.lv.

The main function of the Restoration Centeris to promote longevity of the LNB collectionsby using various conservation methods. TheRestoration Center carries out restoration andconservation of collections (disinfection,stabilizing and object adaptation for the safestorage), creates binding and makes preven-tive measures for successful conservation ofcollections.

The Collection of Audio-visual Resources ofthe LNB holds one of the largest collections ofpublished sound recordings in Latvia, cover-ing the period from the beginning of 20thcentury until present. It includes sound record-ings (records, audio cassettes, CDs), videorecordings (VHS, DVD, Blu-ray), multimedia

discs (CD- and DVD-ROM),as well as variety of lan-guage learning sets. Openaccess collection includesbooks on the history of soundrecording, recording tech-niques and playback, digitalaudio, discographies, gener-al reference books in cinema,movie guides, as well asmagazines and periodicals.

Above: The Riga skyline encom-passes many eras. Left: TheNational Library of Latvia.

National Library ©All rights reserved by Latvia.Travel.

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ArchSC01: Computational Photography Techniquesfor Cultural Heritage Documentation andArchiving: Reflectance Transformation Imaging(RTI) and Photogrammetry8:00 – 12:00 (4 hours)Instructor: Carla Schroer, Cultural HeritageImaging

Through lectures, demonstrations, and discus-sion, this 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.The course offers an intensive introduction tothe technologies, software, photographicequipment, and methods for reflectancetransformation imaging (RTI), and 3D pho-togrammetry—techniques being applied to avariety of art objects.

RTI creates scientific digital representationsof an imaging subject’s shape and color.These digital representations are generatedfrom image sequences where the light illumi-nating the photo’s subject is moved to a newlocation for each photograph. The lighting in-formation is mathematically synthesized intoan RTI image. The subject’s shape and coloris examined in RTI by interactively re-lightingthe subject from any direction and applyingmathematical enhancements within an RTIsoftware-viewing environment.

RTI is used on a wide range of subjects, in-cluding documenting low-relief surfaces likepaintings and engravings. The course showsexamples including inscriptions, rock art,manuscripts, and paintings. It also providesan overview of free RTI software, includingnewly released and planned updates. In ad-dition, a demonstration of the RTI photo-graphic capture sequence, using standarddigital photographic equipment is performedand new research techniques using thesedata 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—the practice of deriv-ing 3D measurements from photographs—can be used for documenting 3D subjects,monitoring changes to these subjects overtime, and a wide range of other uses. Pho-togrammetry creates accurate and measura-ble 3D models in a wide range of scales. Re-cent technological advances in digitalcameras, computer processors, and computa-tional techniques, such as sub-pixel imagematching, make photogrammetry a portableand powerful technique. It yields extremelydense and accurate 3D surface data. It canbe generated using a sequence of photosand captured with standard digital photogra-phy equipment, in a relatively short period oftime.

The second half of the course exploreshow photographic sequences of a subjectcan be captured according to principles that

Short Course Program: Monday, May 15

Special Notes for Short CoursesWe encourage you to register for courses inadvance to insure that they run. Note that youmay register for short courses only; conferenceregistration is not required to take classes.

All short courses will take place at theAvalon Hotel and Conferences, 13. Janvaraiela 19, Riga.

maximize the available information from aseries of viewpoints to yield the best results.We also see how these software platform-independent rule-based data sets can betransformed into 3D representations andconfidently reused by others now and in thefuture.

BenefitsThis course enables the attendee to:• Have a clear understanding of two

computational 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 reuse require-ments are driving modifications to itsdevelopment, 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. Schroerleads 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.

ArchSC02: Scanner & Camera ImagingPerformance: Ten Commandments8:00 – 12:00 (4 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.

BenefitsThis course enables the attendee to:• Interpret and comply with customer

imaging requirements.• Establish accountability for imaging

performance problems.• Understand standards to characterize

scanner and camera performance.• Critically evaluate manufacturers’ claims

of 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

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Imaging and Best Practices Asset Management File Formats and ValidationAdvanced Imaging

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Short Courses At-a-Glance

8:00 – 12:00ArchSC01: ComputationalPhotography Techniques forCultural Heritage Documenta-tion and Archiving: ReflectanceTransformation Imaging (RTI)

and Photogrammetry

8:00 – 12:00ArchSC02: Scanner & CameraImaging Performance: Ten

Commandments

8:00 – 12:00ArchSC03: Program

Management for CulturalHeritage Professionals: AnIntroductory Workshop forManagement of Digitization

and Curation

13:30 – 15:30Revised for 2017 ArchSC05:Spectral Imaging—Digital

Spectral Capture

15:45 – 17:45NEW for 2017 ArchSC09:Spectral Imaging—DigitalSpectral Image Processing

13:30 – 15:30NEW for 2017 ArchSC06:Fundamentals of Color

Measurement

15:45 – 17:45NEW for 2017 ArchSC10:

Quality Assurance Workflowsfor Digitization Projects

13:30 – 15:30ArchSC07: Digital Collection

Development

15:45 – 17:45NEW for 2017 ArchSC11:Introducing the Open SourceSoftware Suite Kitodo . . .

13:30 – 15:30NEW for 2017 ArchSC08:PDF/A Challenges andValidation Tools

15:45 – 17:45NEW for 2017 ArchSC12:

TIFF for ArchivalRecommendations

8:00 – 12:00NEW for 2017

ArchSC04: File Formats forPreservation

Descriptions for short courses begin on page 7.

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 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.

ArchSC03: Program Management for CulturalHeritage Professionals: An Introductory Workshopfor Management of Digitization and Curation8:00 – 12:00 (4 hours)Instructor: Michael B. Toth, R.B. Toth Associates

This course introduces cultural heritage pro-fessionals to best practices in program man-agement. It focuses on methodologies formanaging digital projects that create or de-velop data, integrate new technologies and

data, and/or support digital archiving andaccess. This includes digitization and cura-tion projects for collecting, processing, ac-cessing, archiving, and collaborating withdigital data.

Instruction supports cultural heritage pro-fessionals as they manage successive stagesof digitization and curation projects from ini-tiation through production and operation, es-pecially with changing technologies andtighter budget environments. The workshoputilizes examples and case studies of pro-gram management techniques and processesthat are applicable to digitization and datacuration programs of varied cost and com-plexity in a range of institutions around theglobe.

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 best

practices that are appropriate for culturalheritage program planning, management,and implementation.

• Gain guidance and techniques formanaging projects and tracking progress,including developing:• a solid program management and

data management plan.• an effective structure for task

development.• 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 optimaltechnologies 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 the vocab-ularies and standards necessary to addressthe requirements of broad governmental andexternal oversight and reporting.

Michael B. Toth is president of R.B. Toth Associatesand honorary research associate at University CollegeLondon. With more than 30 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, St.Catherine’s Monastery in the Sinai to the Walters ArtMuseum. He has led advanced digitization and cura-tion projects to provide data and information for glob-al access. He and his teams support institutions acrossthe United States, Europe and the Middle East. Tothstudied science at Wake Forest University, where hereceived his degree in history.

NEW for 2017ArchSC04: File Formats for Preservation8:00 – 12:00 (4 hours)Instructors: Benjamin Yousefi, National Archives ofSweden, and Bert Lemmens, PACKED

The course is built around the ongoing workdone by Riksarkivet (the Swedish NationalArchives) under the research and developmentprogram ArkivE 2.0—fundamental principlesfor selection of format. The result of ArkivE isintended to lay the foundation for governmentagency regulation and/or information such asguides, tutorials, and handbooks.

The aim of the course is to give atheoretical overview of and practical exer-cise in the challenges with:• Regulating what formats are suitable to

store data for long term preservation ofinformation.

• Applying formats suitable for long termpreservation in a specific case.This course sets the stage for the two fol-

lowing courses: ArchSC08: PDF/A Chal-lenges and Validation Tools and ArchSC12:TIFF for Archival Recommendations by famil-iarizing the participants with the PREFORMAConformance Checkers and their importancefor long time preservation.

As the event is a workshop, the course in-terchanges between presentation and practi-cal activity with the purpose of encouragingengagement. For that reason the participantsshould:• Bring a laptop.


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Archiving 2017

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• Have PREFORMA Conformance Checkersinstalled (information about and links toeach Conformance Checker can be foundat http://preforma-project.eu/open-source-portal.html).

• Have some files that could be used forexamination.

BenefitsThis course enables the attendee to:• Understand what is meant by “format.”• Identify the different types of formats.• Learn how to identify and analyse a file.• Understand which formats are suitable for

long time preservation.• Learn about PDF/A vs TIFF vs XML• Learn about FFVI vs all other codecs

Intended Audience: Archivists, librarians, curatorsand other people working at memory institu-tions and in other institutions that need to storeand preserve digital files, digital preservation-ists, IT researchers, open source software de-velopers, people working in standardizationorganizations, and policy makers.

Benjamin Yousefi holds a master of laws fromStockholm University and has worked as a researchassistant at The Swedish Law and Informatics ResearchInstitute at Stockholm University. Since 2013 he hasworked at the National Archives as a senior level ad-ministrative officer in the field of development ande-government. He has held courses on PDF/A for theNational Archives of Sweden and was invited toPREFORMA as a domain expert on PDF/A.

Bert Lemmens is a senior researcher at PACKED.He is involved in the CEST (maintaining the culturalheritage standards toolbox), PREFORMA (pre-commer-cial procurement of three conformance checkers forlong-term preservation formats), and MEDEA (design agraph for recording metal detection finds) projects.Lemmens has worked for the ArchiAfrika foundation asa researcher, NAI—Netherlands Architecture Instituteas a collection registrar, and Amsab (Institute for SocialHistory, Ghent) as a researcher in the European proj-ect HOPE, and for MovE (cultural heritage aggregatorof the province of East-Flanders). He holds masters inart history and conservation.

Revised for 2017ArchSC05: Spectral Imaging—Digital SpectralCapture13:30 – 15:30 (2 hours)Instructor: Fenella G. France, Library of Congress

Preservation and digital humanities studiesare quickly moving beyond simple RGBimage capture to include a range of capabil-ities, including multispectral and hyperspec-tral imaging. Utilizing non-invasive integrat-ed digital imaging systems provides thepreservation specialist, scientist, conservator,curator, and researcher with tools that can re-veal useful, hidden, and preservation infor-mation about an artifact. The unaided eye of-ten cannot detect features that are erased,hidden by overwriting, obscured by treat-ments, or faded because of environmentalfactors. Normal viewing cannot identify im-portant provenance components such as wa-termarks or characterizing colorants to as-sure they are commensurate with thesuggested time period for the document orobject. These features on photographs, man-uscripts, maps, and other heritage objectsare important for scholars, authentication, fin-gerprinting, and the care of collections.

Short Course FeesIf you register: on or before after

April 16 April 162-hourMember $145 $195Non-mem $170 $220Student $60 $110

4-hourMember $220 $270Non-mem $245 $295Student $85 $135

Take 3 classes and recieve 10% off thecourse registration fees. Use PICK3archcoupon code during checkout.

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

Knowledge of unique identifiers are becom-ing increasingly important in the currentworldwide conflict environment, where visi-ble ownership marks can be removed, but un-seen unique spectral responses can help con-firm institutional rights.

Looking at documents at various magnifi-cation levels and with a range of illuminationmodes (raking or side-lighting, transmittedlight, reflected light, and the integration of flu-orescence and different spectral wave-lengths) can capture these elusive features.Imaging with light emitting diodes (LED) illu-mination throughout the visible and non-visible, in 23 spectral bands as well as rak-ing and transmitted light for preservationstudies, provides a system with safe conser-vation lighting that is integrated with the cam-era to minimize light on the object.

In addition to expanding knowledge aboutthe range of information available throughspectral imaging, the class discusses imageprocessing software programs and the possi-bilities for processing spectral imagingdatasets through multivariate image analysis(MIA) and other common processing tech-niques such as principal component analysis(PCA) and pseudocolor processing.

This course addresses and includes exam-ples of the range of spectral information thatcan be captured; implementing and assess-ing spectral imaging technologies; and stan-dardized spectral image system processes forcapturing, processing and storing spectralimage data and metadata, in support ofscholars and heritage institutions. General-ized instruction is combined with a casestudy approach drawing from a range of ex-amples representing a wide geographic andtemporal scope. The approach highlights dif-ferent stages of projects and the varyingneeds of researchers and users, from historicfragile manuscripts to Mayan flasks.

The course also examines the interactionand links between non-invasive analyticalscientific techniques and the cultural, societal,and provenance information contained with-in original sources.

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

processing to best meet the needs ofspecific research.

• 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 will support awide range of professionals who work on orare planning to work on collaborative, multi-disciplinary projects that requires spectral im-aging. These include preservation profession-als and scholars; scientists and engineers;digital specialists; database administrators;program managers and directors; archivists,curators, librarians, and researchers.

Fenella France is chief of the Preservation Research andTesting Division at the Library of Congress researchingnon-destructive imaging techniques and prevention ofenvironmental degradation to collections. She re-ceived her PhD from Otago University, New Zealand.After lecturing at Otago, she was the research scientistfor the Star-Spangled Banner project at the SmithsonianInstitution. An international specialist on polymer agingand environmental deterioration, she focuses on linksbetween mechanical and chemical properties from en-vironment and treatment. France has worked on nu-

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Non-members may choose registrationwith membership for the same priceas a non-member registration and

then take advantage ofmember short course fees.See page 20 for details.

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merous projects including Pre-Columbian mummiesand textiles, the Ellis Island Immigration Museum, andstandards for cultural heritage. With more than threedecades of experience, she serves on a range of pro-fessional committees for cultural heritage preservationand maintains close links and collaborations withcolleagues from academic, cultural, forensic, andfederal institutions. She is currently the DistinguishedPresidential Fellow for the Council on Library andInformation Resources (CLIR).

NEW for 2017ArchSC06: Fundamentals of Color Measurement13:30 – 15:30 (2 hours)Instructor: David R. Wyble, Avian Rochester, LLC

This course begins by defining the basicterms describing the instruments and quanti-ties used in color measurement. The instru-mentation, spectrophotometers, and spectro-radiometers, are introduced by describingthe applications for each type of device. Thedevices include those making traditional spot-measurement as well as those designed tocapture an entire image of color data (imag-ing colorimeters). To understand how accuracyis maintained, instrument calibration is de-scribed. Since most modern devices measurespectral data, the connection between meas-ured spectral data and CIELAB colorimetry isalso described, along with various color dif-ference metrics. While seemingly simple, thetransformation from spectra to CIELAB comeswith many implications that are explained.The overall goal is to understand the con-cepts, procedures, implications, and assump-tions of proper color measurements.

BenefitsThis course enables the attendee to:• Understand the details and procedures

leading to proper color measurements.• Understand the use, calibration, and

applications for spot spectrophotometersand imaging-colorimeters.

• Understand the point of “hand-off” fromspectral measurements to colorimetriccalculations.

• Interpret measurement results, and the im-plications of the various parameters inCIELAB calculations.

Intended Audience: Anyone responsible for mak-ing or interpreting color measurements.A technical background is not required,although an understanding of basic scientificprinciples will be very helpful.

David R. Wyble is president and founder of AvianRochester, LLC. Since 2011, Avian Rochester hasbeen delivering color standards; traditional andcustom measurements; and consulting services to thecolor industry. Prior to founding Avian Rochester,Wyble was a color scientist within the Munsell ColorScience Laboratory at Rochester Institute of Technology(RIT), and before that a member of research & technol-ogy staff at Xerox Corp. He holds a BS in computerscience and MS and PhD in color science from RITand Chiba University, respectively.

Charming scuptures are integrated into the elabo-rate gardens and walkways of the Kronvalda Parksthat traverses the city and divides Old Town fromRiga Center.

ArchSC07: Digital Collection Development13:30 – 15:30 (2 hours)Instructor: John Sarnowski, ResCarta Foundation

This is an introductory course on the use ofopen/free software to create, validate, index,search, display, and maintain a digital archiveof various materials including photographs,oral histories, newspapers, and books.

Learn how to take simple digital files andcreate a knowledge base of standardizedarchival digital objects, complete with Libraryof Congress metadata. Learn how to build acollection and host it. Make your full textsearchable oral histories to FADGI guide-lines. Capture audio files with Audacitytm,use digital cameras and scanners to createfull-text searchable, harvestable archives withTomcattm, ResCartatm, and jOAI.

Take the free and open source tools andknowledge with you to create a growing andsustainable archive.

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, but will beparticularly relevant to those cultural heritageprofessionals tasked with converting analogmaterials to digital.

John Sarnowski has more than 25 years experience inbuilding digital collections. He was responsible forcreating millions of digital objects for learnedsocieties, libraries, and major corporations as thedirector of Imaging Products at Northern Micrographics.

Projects included "The Making of America", JSTOR,and Historic Pittsburgh. He currently is a director of theResCarta Foundation.

NEW for 2017ArchSC08: PDF/A Challenges and Validation Tools13:30 – 15:30 (2 hours)Instructors: Carl Wilson, Open PreservationFoundation, and Boris Doubrov, Dual Lab

PDF/A is an ISO-standardised version of thePortable Document Format (PDF). The stan-dard addresses issues concerning the longterm preservation of electronic documents.This is implemented by restricting documentfeatures that are problematic when archivingdocuments such as encryption, metadata,and external fonts.

The course comprises presentations andpractical demonstrations that provide an in-troduction to the PDF/A format, its applica-tions, and how institutions can use veraPDFsoftware in their PDF/A workflows.

The course begins with an introduction tothe PDF format, the PDF/A standards, andPDF/A validation. This is followed by an in-vestigation of some of the common issues en-countered when validating PDF/A docu-ments. These are explored throughdemonstrations using the veraPDF software toprocess PDF documents. The class demon-strates how the veraPDF toolkit can be usedto validate PDF/A documents and report theresults and look at the results of the validationprocess and help participants to understandthe preservation risks associated with someparticular issues. The course also coversproblems that might be encountered in usingPDF/A and associated legal aspects.

Participants should bring their laptops forthe demos/exercise.

BenefitsThis course enables the attendee to:• Understand what PDF/A is and is not.• Appreciate different PDF/A versions (1, 2

and 3) and conformance levels (a, b, and u).• Learn the choices presented by the variety

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of PDF/A flavours helping them to makethe right decisions.

• Learn common areas of concern: fonts,colors, metadata, images, etc.

• Understand some practical aspects ofPDF/A compliance and the associatedpreservation risks and the open sourceveraPDF tool set and its uses.

Intended Audience:Archivists, librarians, curatorsand other people working at memory institu-tions and in other institutions that need tostore and preserve digital files, digital preser-vationists, IT researchers, open source soft-ware developers, people working in stan-dardization organizations, and policy makers.

Carl Wilson is the technical lead for the Open Preser-vation Foundation. Prior to that he worked for TheBritish Library’s Digital Preservation Team on internaland external projects, including a spell as technical co-ordinator for the SCAPE project. He spent three yearsas technical lead on the planets project, developingthe interoperability framework and service interfacedefinitions. He also helped organize and run thePlanets Service Developer’s Workshops. Wilson partic-ularly enjoys hackathon style events, and is a regularattendee at OPF events, as well as those which wereorganised as part of the SPRUCE and AQuA projects.

Boris Doubrov is CEO of Dual Lab, the companysubcontracted by veraPDF consortium for developingthe industry supported PDF/A validation tool as a partof the PREFORMA project. He holds a PhD in comput-er science from Belarusian State University (1997) andanother PhD in mathematics from the Catholic Univer-sity of Leuven (2004). Doubrov has been working formore than 15 years in PDF technologies as a softwaredeveloper, project manager, and business owner. Heis an active participant of the ISO activity on PDF 2.0and future PDF/A standards.

NEW for 2017ArchSC09: Spectral Imaging—Digital SpectralImage Processing15:45 – 17:45 (2 hours)Instructor: Fenella G. France, Library of Congress

For background on this course and the ad-vantages of spectral imaging of cultural her-itage objects, please read the course descrip-tion for ArchSC05: Spectral Imaging—Digital Spectral Capture (see page 11). Thiscourse builds on ArchSC05, but can also betaken independently.

This short discusses, demonstrates, andteaches image processing techniques using atleast two software programs and the possibil-ities for processing spectral imaging datasetsthrough multivariate image analysis (MIA)and other common processing techniquessuch as principal component analysis (PCA)and pseudocolor processing. Open sourcefree software (ImageJ) is the main software uti-lized to assure transferability of skills at no fu-ture cost. The course addresses a selection ofstandardized spectral image processing tech-niques that support preservation profession-als, scholars, researchers, and heritage insti-tutions. Generalized instruction focuses on arange of datasets from actual historic materi-als that represent a wide geographic and tem-poral scope. The processing taught during thecourse include recovery of obscured text, in-cluding palimpsests, how to enhance and re-veal watermarks obscured by thick printinginks, pseudocolor spectral mapping to showdifferences between inks or colorants thatlook visibly similar, and spectral curve analy-sis techniques to definitively characterize col-orants, and changes due to treatments, or theimpact if various environmental parameterscharacterization of colorants, and trackingchanges over time.

The course addressing the needs of thoseworking on spectral imaging projects andthose wanting to understand whether the abil-ity to process this data might be an addition-al useful tool for their institution and collec-tions. Participants gain skills to apply image

Register for 3 classes andtake 10% off the totalcourse registration fee.

See registration form for details.Online reg code: PICK3arch

processing techniques to a range of spectralcapture examples.

BenefitsThis course enables the attendee to:• Appreciate revealing and enhancing non-

visible information.• Apply image processing techniques to a

range of spectral capture examples.• Learn mapping spectral responses to iden-

tify different and at-risk fugitive media.• Understand characterizing inks, pigments,

and colorants on a range of heritage sub-strates (paper, parchment, ceramics, andtextiles).

• Learn how to detect and track changesover time.

• Assess the needs of collection users andhow to deliver value-added information.

Intended Audience: The course supports a widerange of professionals who work on or areplanning to work on collaborative, multidisci-plinary projects that requires spectral imageprocessing. These include preservation profes-sionals and scholars; scientists and engineers;digital specialists, database administrators;program managers and directors; archivists,curators, librarians, and researchers.

See bio undert ArchSC05: Spectral Imaging—DigitalSpectral Capture, page 12.

NEW for 2017ArchSC10: Quality Assurance Workflows forDigitization Projects15:45 – 17:45 (2 hours)Instructor: Martina Hoffmann, National Library ofthe Netherlands (KB)

This is a basic course on how to set up a suc-cessful, quick, reliable, quality assurance(QA) workflow for (mass) digitization proj-ects for cultural heritage. As digitization proj-ects and programs require a huge amount ofresources (both human and machine) andsubstantial investments, the need for a suit-able quality control workflow emerges. Thereare many software packages and suppliersaround, and they all look very promising, sohow do we make sure that we select thosethat are actually going to meet our demands?How can we make sure that we utilize whatis already out there regarding experiencesand best practices? And, last but by nomeans least: how can QA help the quality ofyour digitization?

In this course you learn what the key ingre-dients are for a QA-workflow and how to in-corporate those ingredients—not just tools,but also the accompanying mind set—in yourorganization at all the necessary levels.

Together we answer the questions posedabove and then we take a good look at asuccessfully implemented QA-workflow at the

National Library of theNetherlands. This showsus method, process,and results. The basicrequirements for a qual-ity workflow—simplici-ty, flexibility, efficiency,modularity, low cost,and high speed—arebe addressed, as well


16

A visit to the Rigascentraltirgus, the RigaCentral Market, is a feastfor all the senses. Be sureto try the bread from theUzbek bakery.

as a look at the “mix and match” principlethat guided the development of our example.

Finally, the modular approach that is keyto setting up a workflow that can meet almostany demands in any program will be ad-dresses in some detail.

It is possible to put things into practicestraight away: you may bring your own digiti-zation program/project to the course and de-sign a workflow for it. You are also stronglyencouraged to present your own existing QA-workflow to the course and/or prepare ques-tions on the topic for the group to discuss.

BenefitsThis course enables the attendee to:• Understand the principles of a modular

QA-workflow.• Explain the principles and necessity of a

QA-workflow to higher management andsuppliers in order to get (possible) invest-ment.

• Implement the mix and match principleaccording to the given basic ingredients.

Intended Audience: Managers, program officers,project leaders, suppliers of, quality man-agers responsible for (mass) digitization pro-grams. A basic knowledge of digitizationprojects will be assumed.

Martina Hoffmann is senior production manager of dig-itization at the National Library in the Netherlands for thearchival section of Metamorfoze. She was also opera-tional manager quality control of digitized products atthe National Archives in the Netherlands. She has co-designed several quality assurance workflows for differ-ent mass digitization projects in the Netherlands. Start-ing with only image quality QA processes, her mainfocus now is QA processes including several fields of ex-pertise from metadata to long term preservation.

NEW for 2017ArchSC11: Introducing the Open Source SoftwareSuite Kitodo: More than just a Workflow TrackingTool15:45 – 17:45 (2 hours)Instructor: Frank Ulrich Weber, Zeutschel GmbH

This course focuses on the use of the opensource software suite Kitodo. The software ismanaged by the association “Kitodo.Key todigital objects e.V.” and a founded releasemanagement. The two layers of the system,Kitodo.Production and Kitodo.Presentation,allow the users a flexible setup.

Kitodo.Production enables an easy cre-ation of workflows for digitalization projects.The workflows can be tracked easily and theprogress is always documented. The power-ful metadata editor allows adding any imag-inable structure and metadata element. Statis-tic evaluations are always available.

Kitodo.Presentation is an independent soft-ware tool to manage digital collections andpresent them to the interested user via a mod-ern web browser. That is possible becauseKitodo.Production generates standardizedMETS/MODS files in addition to the digitizedobjects. An index enables fast searches evenwithin a huge asset of digital objects and theOAI-PHM2 interface allows other systems toaccess and retrieve the metadata of the digi-tal objects in different formats. The TYPO3content management system in the back offersfunctionalities even for the unskilled user.

BenefitsThis course enables the attendee to:• Understand what steps are required for

an efficient digitalization workflow.• Setup a digitalization workflow.• Appreciate working on a digitalization

workflow.• Learn how to create structure and meta-

data elements.• Monitor a digitalization workflow.• Use statistic evaluations.• Find the right information within a huge

index.

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Intended Audience: This course is targeted tothose responsible for digitization and digitalcollection management from libraries,archives, museums, and service providers ofany size.

Frank Ulrich Weber is head product manager of thecompany Zeutschel GmbH. He has more than tenyears of experience developing and implementingworkflows and digitalization solutions for libraries,archives, museums, and service providers.

NEW for 2017ArchSC12: TIFF for Archival Recommendations15:45 – 17:45 (2 hours)Instructor: Peter Fornaro, University of Basel

The versatility of the TIFF format has made itvery attractive for memory institutions forlong term archival of their digital images.However, since the TIFF format offers such agreat flexibility, it is not guaranteed that inthe future a standard TIFF reader will be ableto read some TIFF images. However, the lim-itations of the baseline TIFF are too severe formany applications in digital archiving. It isimportant that, besides crucial technicalmetadata such as ICC colour profiles (in caseof colour images) important descriptive meta-data is stored within the image file. Havingdescriptive metadata available (such as con-tent description, iconography, copyright, andownership information etc.) is crucial forevery archive. Having this information in thesame file as the image data guarantees thatthis information will always be associatedwith the image.

This course gives to the audience a gener-al overview of the TIFF image format and itsdifferent specifications, a review of the typi-cal errors that archivists make, and finally alist of recommendations to guarantee digitalpreservation of TIFF files. With the aim ofachieving a participative course to ensure auseful takeaway for the attendees, a didacticpresentation performed by the instructor, aset of prepared examples to be discussedamong the audience, and hands-on exercises

to assess the contents assimilation of theblock are included in the course.

The course shows which are the most com-monly used tags and values for these tagsand which private tags are mostly used in thealready existing TIFF digital assets of thememory institutions. This is the result of an ex-tensive analysis of around 2 million files ofdifferent memory institutions. We will see afeature histogram that is giving a goodoverview of the data out there. Besides, wewill present a list of typical problems encoun-tered in the TIFF files, some of them are notcompliant to the TIFF specifications but oth-ers, although conformant to the ISOs, are notsuitable for digital preservation.

Participants should bring their laptops forthe demos/exercises.

BenefitsThis course enables the attendee to:• Understand the basic problem of file

migration.• Choose from a proper file format for

archiving.• Be able to value file types of digitization

workflows.• Learn how to check if existing files need

to be transcoded (migrated).• To judge reports of checker software.

Intended Audience: This course is aimed as atechnical introduction into the field of file mi-gration within digital collections of libraries,archives, museums, and services.

Peter Fornaro is part of the management team of theDigital Humanities Lab at the University of Basel. Hestudied electrical engineering, physics, photography,and business administration. His research covers mod-ern camera technology, innovative scanning methodslike reflection transformation imaging (RTI), colour sci-ence, and digital preservation. In his lectures he teach-es media technology, colour science, and photogra-phy. He is also responsible for scanning projects andfinancial and business matters.


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Lodging AccommodationA special hotel rate of €70/night, includinginternet access, buffet breakfast, VAT, andcomplimentary coffee/tea, laptop-size safe,iron and ironing board, has been secured forArchiving 2017 attendees at Avalon Hoteland Conferences in Riga. The hotel is locatedat the edge of Old Town and across the riverfrom the National Library (15-20 minutewalk). The bus to/from the airport stopsdirectly in front of the hotel. Hotel reserva-tions must be made by April 14, 2017.

Avalon Hotel & Conferenceswww.hotelavalon.eu/13 Janvara iela. 19Riga, Latvia, LV-1050

Rate: €70, inclusiveRate honored +3 days prior to and after theconference based on availability.Check in / out: 15:00 / noon

Cancellation Policy: No deposit taken. Can-cel 30 days prior to arrival for full refund; af-ter that, first night's room charged.

To Reserve Lodgingvia Online: www.hotelavalon.eu/Promo Code: ARCH2017via phone: +371 67 16 9999(Reference: ARCH2017)

Transportation Information*Served by Riga International Airport (RIX),numerous flights arrive/depart daily frommajor European cities such as Amsterdam,Cologne, Copenhagen, Frankfurt, London,Oslo, Prague, Stockholm, Vienna, andZurich. More information can be found atwww.riga-airport.com/.

Getting to the hotelAirport/Old Town via Bus (www.wmata.com)Bus No. 22 provides direct service betweenthe airport and Old Town. The stop for the busis located in front of the Avalon Hotel. Fromthere is also a short walk to the LNB.

Weather The average temperature in May is51°F/12°C. Minimal rain can be expected.

* Details and direct links can be found atwww.imaging. org/archiving.

Accommodation and Transportation

Facade, Art Nouveau district


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Become part of the Archiving online community!Search LinkedIn groups for “is&t archiving group”

Follow IS&T on Twitter: @ImagingOrg

Conference registration includes admission to all technical sessions, lunches, coffee breaks,Welcome and Conference Receptions, and conference proceedings. Separate registration fees arerequired for short courses.

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1. Please check ALL that apply. I am a: � speaker � session chair � committee member

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To better serve you, IS&T is offering conference registration options that include membership (new or renewal) withyour choice of an online subscription to the Journal of Imaging Science and Technology (JIST) or Journal of ElectronicImaging (JEI). for the same price as the non-member fee.

amount due $ _____

Archiving 2017 Conference RegistrationYou may also register online at www.imaging.org/archiving

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__ Conference registration: current IS&T Member $525 $625 $160 $210

__ Conf. registration (+ new or renewing membership + JIST)* $625 $725 $185 $235

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__ One-day: � Tues � Wed � Thurs $300 $350 $160 $210

thruApril 16

afterApril 16

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STUDENT

* Membership benefits include access to the IS&T Digital Library, an online subscription to the Journal of Imaging Scienceand Technology (JIST) or Journal of Electronic Imaging (JEI), The Reporter newsletter, conference fee discounts, and access tothe member directory, among other things. Membership takes effect within two weeks of registration and expires 2/31/17.This offer may be used for renewals.

Archiving 2017

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2. 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 orviewing on your computer. Instructors without e-notes will provide hardcopies in class. Lunch is not providedon Monday.

on or before afterApril 16 April 16 TOTAL

4-hour Member (per class; select below) $220 $270 $ _____4-hour Non-member (per class; select below) $245 $295 $ _____4-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) $145 $195 $ _____2-hour Non-member (per class; select below) $170 $220 $ _____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

(use coupon code PICK3arch when registering online)(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 advan-tage of this offer)

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

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Contact [email protected] 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 untilMay 12, 2017. After that date, the cancellation fee is 50% of the total plus $75.

No refunds will be given after May 22, 2017. All requests for refund must be made in writing.

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