Salient Features of India constitution especially power and functions
Speed The Plow Beinecke
1. YALE UNIVERSITY
Beinecke Rare Book & Manuscript
Library
Speed the Plow:
Rapid Capture Digital Workflow
The Rapid Imaging Program in the Beinecke Rare
Book and Manuscript Library
Tuesday, November 17, 2009
My name is Chris Edwards, Digital Studio Production Manager at Yale Universityʼs Beinecke Rare Book and Manuscript Library
2. Beinecke Rare Book & Manuscript Library
Tuesday, November 17, 2009
The Beinecke Rare Book and Manuscript Library was built in 1963, houses several million volumes and is the largest
collection of Rare Books and Manuscripts in the Americas and one of the largest in the world.
In addition to its general collection of rare books and manuscripts, the library houses the Yale Collection of American Literature,
German Literature, Western Americana, and the Osborn Collection a collection of British literature written between the 16th and
19th century. We have been digitizing in-house since 1998, with current, more modern version of the Digital Studio at the Beinecke
in operation since January, 2000.
3. Beinecke Rare Book & Manuscript Library
The Issues:
• High demand for digital surrogates of materials for
research purposes
• Rare Books and Manuscripts are generally too fragile
or valuable for traditional Mass Digitization
• Limited (expensive) digitization choices offered to
patrons faculty and staff
• High amount of handling of popular items
• Several large collections in the cue for digitization
• Economic climate
Tuesday, November 17, 2009
How did we know we needed a custom and Rapid Imaging Solution
High demand for digital surrogates of materials for research purposes – since 2005 when we began specifically tracking Patron
orders, the studio has created 40,000 scans specifically in response to patron requests. 17,000 of those were created on the RIP in
the last year.
Rare Books and Manuscripts are generally too fragile or valuable for traditional Mass Digitization – This is largely self-
explanatory, the Beinecke does not participate in any of the traditional mass digitization initiatives on campus but still has a need for
a high level of digitization.
Limited (expensive) digitization choices offered to Patrons, faculty and staff – Prior to our Rapid Imaging initiative, Beinecke
only offered photocopys of selected material for 35 cents or high resolution images for $15 per scan. Your choice was one or the
other.
High amount of handling of popular items – In 2006 the personal correspondence between Alfred Stieglitz and Georgia Okeefe
were unsealed and became available for study. These were and are wildly popular but the popularity came at a price. Material was
quickly damaged or misfiled. For most researchers, A digital surrogate would suffice for their purposes.
Several large collections in the cue for digitization - steiglitz okeefe correspondence 29000 scans
Boswell Papers 22000
Erdoes Native American Rights Movement photos 35000
Economic Climate – The Beinecke saw this as an opportunity to provide more research material online and to provide more
material to researchers who were less likely to be able to visit the Beinecke in person.
4. Beinecke Rare Book & Manuscript Library
The Solution:
Tuesday, November 17, 2009
To accommodate the requests of Beinecke Library patrons, the needs of the curatorial staff and to provide support for Yale students
and faculty, the Beinecke Rare Book and Manuscript Library has implemented a Rapid Imaging Program – referred to internally as
the RIP. The RIP project provides medium resolution “discovery Images” suitable for online research, web use, classroom use, or
Powerpoint. The program was launched in September of 2008 and has produced over 65000 images in that time.
A discovery image is defined in our institution as a lower resolution image, 1536 pixels at its widest dimension to be delivered to the
Patron or posted on the Beinecke website. Discovery images are not suitable for print purposes. 1536 Pixels is the largest size of
jpeg we currently display on our website. When considering what we wanted from the RIP, we decided to consider the end use as
opposed to the photograph it once photograph it large mindset that is used with our high-resolution equipment. The decision was
made to offer inexpensive lower resolution scans to satisfy the demand for simple scholarly uses.
The difference between RIP images and full TIFF images
•
File size
•
Automation
•
Batch color editing
•
JP2 as archival copy
5. Beinecke Rare Book & Manuscript Library
Hardware
•Canon EOS 1-DS Mark III
Rapid Imaging
Program •Canon EF 24-70 f 2.8 Lens
(RIP) •Bencher Copymate II w/2, 36
watt, 5200K Fluorescent Lamps
•Dell Latitude D830 Core 2 Duo
•LaCie 2 Terabyte External Hard
Drive w/USB 2.0
•Uline Wire Utility Cart, 36w x
24d x 39h
Software
•Canon EOS Utility
•Canon Digital Photo Professional
RAW Conversion Software
•Adobe CS3 w/Bridge and
Camera RAW
Tuesday, November 17, 2009
The RIP was originally intended to be a low volume, movable platform made to create surrogates mainly for patrons, operating only a
few hours a week and to be moved to where ever the material was.
Almost immediately, the RIP changed to an all day, every day station and is a permanent fixture in the studio, not roving to the
material. Shortly after its implementation the primary focus of the RIPʼs workflow shifted from patron material to curator driven
collection based photography.
Speak to Tech Data on screen
Itʼs important to note that we use a 24-70mm lens with our camera. We found that the slight loss of image sharpness, which a zoom
lens brings gives us a much faster capture rate because we donʼt have to move the camera to frame an image.
6. Beinecke Rare Book & Manuscript Library
RIP
The RIP is currently
deployed in the 400
square foot digital
studio at the Beinecke
Library
Tuesday, November 17, 2009
The RIPʼs small foot print allows for its use in our small, 400 square foot studio. This actually helps productivity because of its close
proximity to cataloged material and helps keep the photographer working on the station engaged with their fellow employees and not
isolated.
With regards to staffing, Anecdotally I have been told that some institutions have had trouble either finding staff for a station such as
this, or have experienced pushback from existing staff asked to operate a rapid capture station.
When RIP was instituted, the Beinecke Library did not have the budget for Rapid Imaging specific staff. To operate this station we
use our existing staff of 3 “senior photographers”. We rotate the photographers around the studio, from the high-resolution camera,
to the flatbed scanner to the Rapid Imaging station. This prevents them from burning out, allows variety in their day, ensures cross
training and prevents specialization. The photographers have indicated that while the Rapid Imaging station isnʼt always their
favorite station to work due to its high volume throughput and its simplified workflow, they recognize its use and importance to the
institution. It is felt that as long as the RIP isnʼt expanded to the exclusion of all other workflows and that they continue to rotate in
and out of the Rapid Imaging station it is an acceptable working environment.
7. Beinecke Rare Book & Manuscript Library
Keeping the RIP busy:
Patron vs Curator
RIP Patron RIP Curator
Tuesday, November 17, 2009
The RIP is operated generally 5 days a week, unless the photographic staff is working on higher priority projects using other
equipment. 2 days a week the RIP is used for Patron Requests. Beinecke charges $1 per image to photograph any collection item a
patron needs on the RIP . Items already photographed can be grabbed from our site for free. In the technical data package being
made available from this discussion is a full workflow diagram that details the patron and curator process. This is also available for
download on the Beinecke studio web site.
17000 RIP Patron Images Produced
Up to 3 days a week, the RIP will create images where capturing collections in their entirety is the goal. The images shown, Okeefe
Steiglitz correspondence of which there are 29000 scans is a perfect example of RIP Curator
48000 RIP Curator Images Produced
8. Beinecke Rare Book & Manuscript Library
Metrics of the Project
• The RIP operated by existing photographic staff
• Staff of 3 full time catalogers dedicated to creating
metadata for material to be digitized
• The RIP will produce 300-600 images per day
• Has been in service since September 2008 and has
created 65000 images in that time
• The station cost $10000 for the total purchase
• Rapid Imaging photographs cost $.50 to $1 each
to create
• All images created by the RIP process are posted
to the Beinecke Digital Library
Tuesday, November 17, 2009
Operated by existing professional photography staff
Staff of 3 full time catalogers dedicated to creating metadata for material to be digitized
The RIP will produce 300-600 images per day
Has been in service since September 2008 and has created 65,000 images in that time
The station cost $10000 for the total purchase
Rapid Imaging photographs cost $.50 to $1 each to create
All images created by the RIP process are posted to the Beinecke Digital Library. RIP images are shown side by side with high res
images, though RIP images are designated low res in the thumbnail view.
9. Beinecke Rare Book & Manuscript Library
RAW files converted to
8 bit RGB TIFF @ 350 dpi using
Canon Digital Photo Professional
Rapid
Imaging
Images batch edited for color
correction in Photoshop and Automation
cropping action applied
Beinecke
Generated
IF DATA
from RIP
Tiffs compressed to JPEGs,
JPEG2000s and data file created
Tuesday, November 17, 2009
The image on the screen is just a small section of a complete workflow diagram that you will find in the PDF that is being provided
from this talk.
Auto file naming in canon software combined with all the cataloging being done ahead of time is a key to speed for us
Shooting RAW
Capturing color bar at beginning of day/project to allow for batch editing
Convert using canon Digital Photo Professional which in our tests converted RAW files faster than Adobe Bridge
Rotate and inspect in Bridge
Auto Cropping action crops to image (one reason we shoot on a black bkgrnd)
Custom software creates multiple sizes of Jpegs and JP2
10. Beinecke Rare Book & Manuscript Library
Conclusions and Findings
• Rapid Imaging is a productive and versatile tool but is not
suitable for all end uses or materials
• The greater your advanced preparation the higher your
production totals will be
• We would have bought a Canon 5D if we could have
• Our Copy Stand is too small for the growing demand for
service we are experiencing
• The Rapid Imaging model is highly portable, collaboration
with colleagues in other units, departments or institutions
is extremely beneficial
• Document and share your experience and process openly
Tuesday, November 17, 2009
Rapid Imaging is a productive and versatile tool but is not suitable for all end uses or materials – The RIP is a tool like a
hammer or screwdriver, it wont all uses all the time. This is not a silver bullet and likely shouldnʼt supplant all other digitization efforts
in a studio. Perhaps the single most important part of our Rapid Imaging process is that we have a well defined end use of our files.
Images created on the RIP are discovery images. Period. This ensures that everyone knows what they are getting and allows us to
focus on the most important part of this project, Rapid Imaging.
The greater your advanced preparation the higher your production totals will be This sounds simple but what allows us to
create so many images in a day is that we have a cataloging staff who sorts, arranges, and creates metadata for all the material
going to the RIP. This means all the photographer needs to do is to photograph the items in the order in which they were delivered
to them. This leaves all their working time for photography.
Would have bought a 5d if we could have – We purchased the 1ds mark III because at that time the 21 megapixel version of the
5D hadʼnt been released. The 1ds Mark III is a terrific camera but the 5D is 1/3 the price and would more than suffice for our
purposes.
Our copystand is too small for the growing demand for service we are experiencing - We spent a good piece of the budget
on the camera, so we bought a less expensive stand. The stand we bought was perfectly fine for the material we imagined we would
be using it for but when the demand increased, the scope of material increased. Buy the biggest best table/stand you can afford/fit
you will use it.
The Rapid Imaging model is highly portable, collaboration with colleagues in other units, departments or institutions is
extremely beneficial - John Ffrench, who is presenting next, borrowed from our RIP to set up the Rapid Imaging projects he is
running. He and his staff in turn made several innovations and improved the automation processes that we use. We will be
adopting many of these in the expanded version that we are planning for our studio now including using similar hardware. Proving
that the same basic concept could be used successfully in both a library and a museum.
Document and share your experience and process openly
The next slide contains links including one to the Beinecke studio website, We believe in the full sharing of information. for full studio
documentation and scripts to download visit us
11. Beinecke Rare Book & Manuscript Library
Contact Info and Links
• chris.edwards@yale.edu
Beinecke Digital Studio Website:
• http://beinecke.library.yale.edu/brbltda/
Beinecke Rare Book & Manuscript Library
• http://www.library.yale.edu/beinecke/index.html
Yale Digital Coffee:
• http://www.yale.edu/digitalcoffee/
Tuesday, November 17, 2009
chris.edwards@yale.edu - feel free to contact me with any questions or comments
Beinecke Digital Studio Website – We believe in the full sharing of information. for full studio documentation and scripts to
download visit us
Beinecke Rare Book & Manuscript Library – see our RIP images in action
Yale Digital Coffee: - Keep up with what is happening in the Yale digitization community through a Photographerʼs discussion and
information sharing group started by my fellow presenter John Ffrench of the Yale University Art Gallery, Melissa Fournier,
Conference Publicity Chair (Yale Center for British Art) and myself
There is lots of information to share on this site.