Digital collecting, pictures Matthew Burgess, Digital Collections Analyst @matthewpburgess presented at Digital collecting for NSW public library staff, 27 May 2019
3. @matthewpburgess
Born-digital photographs
โข The prevalence of digital cameras makes this one of the fastest
growing forms of born-digital content
โข Custodial emphasis should be placed on appropriate file formats and
storage
โข Care needs to be taken with technical specifications that affect the
integrity of the photographs
โข Acquisitions must be approached on a case-by-case basis, where
specifications and standards do not apply to all situations
4. @matthewpburgess
File formats for digital cameras
โข Low-end cameras and most smartphones will create JPEG, a
compressed file format
โข Some cameras (not many) create TIFF, a file format that can be either
compressed or uncompressed
โข High-end cameras (and some smart phone apps) will create camera
raw file formats (often proprietary, eg CR2 for Canon or ARW for Sony)
โข All cameras that shoot camera raw will also shoot JPEG
5. @matthewpburgess
File formats: JPEG vs camera raw
โข There are advantages and disadvantages for both
โข JPEG is a compressed file format
โข Every time you save a JPEG, information is lost
โข Small file size, low bit depth
โข Widely supported, doesnโt require specialist software to view or create copies
โข Suitable for access
โข Camera raw contains all of the unprocessed data from the camera sensor
โข No matter how many times the file is processed, the raw data is never changed
โข Larger file size, high bit depth
โข Requires processing by specialist software for access derivatives
โข Suitable for preservation
6. @matthewpburgess
Digital Negative (DNG) camera raw file format
Benefits
โข Open standard, based on TIFF 6.0
format
โข Contains raw data from camera
sensor
โข Can have smaller file size
compared to TIFF
โข Self-documenting with embedded
XMP and other metadata
โข Embedded checksum for raw data
Risks
โข Limited support for
processing/creating derivatives
โข Possible corruption when
converting from proprietary
camera raw file formats
โข Concerns regarding conversion of
hidden (encrypted), proprietary
metadata
โข Still under consideration as an ISO
standard
7. @matthewpburgess
What file format should I collect?
This depends on various factors:
โข Does the camera raw file format show the artistโs intent?
โข Do you want to record the process?
โข Will the photographer give you the camera raw file?
8. @matthewpburgess
What file format should I collect?
โข There are different processes that photographers use based on the
file format and their own workflows
โข Their process and workflow determines what you should collect
โข Questions you might ask:
โข โDo you only apply your process to the camera raw file?โ
โข โDo you export from camera raw and make adjustments in Photoshop or
other programs?โ
9. @matthewpburgess
Terminology: bit depth
โข Bit depth is determined by the number of bits used to define each
pixel
โข The greater the bit depth the greater the number of tones that can be
represented
โข The greater the bit depth, the larger the file size
11. @matthewpburgess
Terminology: resolution
โข Resolution = information
โข Can refer to Dots Per Inch (DPI) or Pixels Per Inch (PPI)
โข Can refer to the dimensions of an image measured in pixels
โข The more pixels you have in your image, the larger that image can be
reproduced
โข Pixel dimensions are determined by the camera sensor (megapixels)
โข Pixel dimensions can be increased in post-production at the cost of
image quality
12. @matthewpburgess
Terminology: colour mode & colour profile
โข Colour mode sets the colour space โeg RGB, CMYK, grayscale
โข Colour profiles determine how colours/tones are rendered on
computer screens and in print
โข Different colour profiles can represent smaller or larger amounts of
colour (eg. sRGB is a smaller profile often used for web, Adobe RGB
(1998) is often recommended for preservation)
โข Camera raw files do not have a colour profile โ this is assigned for
derivatives (eg JPEG or TIFF)