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DIAMM FIRST SLIDE

DIAMM FIRST SLIDE. The Digital Image Archive of Medieval Music www.diamm.ac.uk Prof Andrew Wathey (Royal Holloway) Dr Margaret Bent (All Souls, Oxford) Dr Julia Craig-McFeely (Royal Holloway) Dr Marilyn Deegan (CCH, King’s London) Centre for Computing in the Humanities

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DIAMM FIRST SLIDE

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  1. DIAMM FIRST SLIDE The Digital Image Archive of Medieval Music www.diamm.ac.uk Prof Andrew Wathey (Royal Holloway) Dr Margaret Bent (All Souls, Oxford) Dr Julia Craig-McFeely (Royal Holloway) Dr Marilyn Deegan (CCH, King’s London) Centre for Computing in the Humanities (Harold Short, Gerhard Brey, Paul Vetch, Arianna Ciula, Elliott Hall, Paul Spence etc.) Fiona Shand (Magdalen College, Oxford) research assistant Dr Lynda Sayce (Oxford) project photographer Funded by The Arts and Humanities Research Board 1998-2004 The Andrew W Mellon Foundation 2002-2006

  2. Creating digital materials • Why are we digitizing? • Is it to provide scholars with working copies? (= microfilm/slides) • Is it to create a record of the document? (= good glossy photos) • Is it to preserve the document from further handling and create a surrogate that could replace the original if it was lost? (= full-size colour Ektachrome?) • Define the original in order to define usage and therefore resolution. • Are you preserving data alone? • Are you preserving the artefact so that it can be re-created? • Resolution in relation to the size of the original (i.e. at real size): • On-screen 96 dpi • Printable 300 dpi • Archive-qualty 400-600 dpi and above

  3. What sort of digitization should archives undertake? • Digitize in such a way that you do not need to go back to the MS and do it again. • Conservation: limiting use of the document by providing excellent surrogates • There is no point in digitizing without a clear strategy for storage and delivery • Digital images should provide something NEW, changing scholarship and scholars

  4. Defining quality in imaging • High-street cameras: 5-8 million pixels compact • 8-12 million pixels digital SLR • PhaseOne P45 single-shot: 39 million pixels • PhaseOne PowerPhase FX (scanning back): max capture area 144 million pixels • Always take the largest image you are likely to need because you can remove pixels to reduce size, but you cannot put them back to increase size once they are gone, or if they were never there.

  5. Original 40 x 30 cm

  6. How big is big enough?

  7. (My) Definition of a good image • IN FOCUS and sharp even in fine detail • Correctly exposed • Colour accurate • Contains all the information you might need to recreate the original AND fully understand the surrogate: • Colour scale • Size scale • Grayscale if possible • Has camera profile embedded • Does not need to be adjusted or corrected in any way (e.g. sharpened, level-adjusted, de-skewed) • Has not lost any information through compression

  8. Colour/Size scale patches • Allows photographer to ensure correct exposure and colour balance for each image at point of capture • Gives instant size information (no need to look elsewhere) • Provides user with colour control information when viewing images without the original source present and assess exposure level and colour cast (if any) • Provides colour control information for accurate reproduction (both hard copy and digital) • Allows evaluation of image quality after capture • Accuracy of individual file data in the future can be assessed • Provides a printer with control information for creating correct colour and size output • HOWEVER: the colour scale must not touch the subject of the image!

  9. What are the cost issues relating to quality? • Time = cost • Including colour and size scale has minimal impact; • Embedding colour profile of capture equipment has minimal impact; • Adjusting for fine-focus has small impact if it can be done once per batch; • Adjusting for fine-focus has considerable impact if it has to be done for every picture; • High-resolution scanning is extremely costly, but essential for over-sized or damaged manuscripts; • Quality assessment at point of capture is time consuming • However: • A ‘bad’ picture will have to be re-shot, which is extremely wasteful and therefore costly • Post-processing of any sort is wasteful: if you have to post-process, the capture is flawed and the picture is not good enough

  10. What are the difficulties facing the ‘creator’? • We need to balance cost against the value of the end product • We cannot photograph every document in the same way • A small document does not need the resolution that a large document requires. • Photographing a large document without the resolution you need results in fuzzy pictures. • Damaged documents require much more detail, since the scholar will require more clarity to read it. • Is my image big enough?

  11. GB-Stratford, Shakespeare Birthplace Trust DR 37 Vol. 41 (back cover)

  12. GB-Oxford, Corpus Christi College, MS 144, f. 25v

  13. www.diamm.ac.uk www.diamm.ac.uk e-mail: julia.craig-mcfeely@music.ox.ac.uk

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