Digitizing and Editing ­Photos

Handout 4 Supplement of the Interreg project “Lichtbild/Argento vivo. Cultural Treasure Photography”

AUTONOME PROVINCIA PROVINZ AUTONOMA BOZEN DI BOLZANO SÜDTIROL ALTO ADIGE PROVINZIA AUTONOMA DE BULSAN SÜDTIROL The Interreg project “Lichtbild/Argento Vivo. Cultural South Tyrolean Provincial Archives, Roland Sila and Treasure Photography” is a collaboration between Claudia Sporer-Heis of the Tyrolean State Museums and the following partners: the Tyrolean Archive of Photo- Bernhard Mertelseder of the Tiroler Bildungsforum in graphic Documentation and Art (TAP), the Municipality Innsbruck. Another associated partner is the European of Brunico as well as the Office for Film and Media and Region of Tyrol–South Tyrol–Trentino. the Department of Museums of the Autonomous Pro­v­ In line with the motto “Professional handling, open ac- ince of Bolzano – South Tyrol. cess. Photography goes future,” the project defines The Lichtbild team consists of the following members: guidelines for the competent handling of historical Martin Kofler, Rosemarie Bachmann, Helene Ladstätter photo ­graphs in the project area of Tyrol and South T­ yrol. and Evelyn Müller (TAP), Sonja Hartner and Julia Knapp These guidelines are developed within the framework (Municipality of Brunico), Arpad Langer, Oscar La Rosa of various workshops; the results will be presented on a and Notburga Siller (Office for Film and Media) as well webpage, in an app and as an e-learning program. Fur- as Gertrud Gasser and Verena Malfertheiner (Depart- thermore, for the first time ever, the project will make ment of Museums). historical photos available in Tyrol and South Tyrol as The team is supported by several representatives of the open data. associated partners: Alessandro Campaner of the

1. History of Photography in Tyrol and South Tyrol

2. Photographic Rights and Creative Commons

3. Archiving and Cataloging

4. Digitalization and Image Editing

5. Digital Long-Term Archiving

www.lichtbild-argentovivo.eu [email protected]

Editor: The Lichtbild/Argento vivo Team

Funded by the European Regional Development Fund and Interreg V-A Italy-Austria 2014–2020

Translations: All contributions from German to Italian: Ex Libris Coop- erative, Bolzano All articles into English: Pro text sas, Bolzano This handout is published under the Creative Commons Proofreading, design: Ex Libris Cooperative, Bolzano license CC BY 4.0. Cover based on a design by Mugele’s Brand Identity, For the complete terms of the license, see: https:// Bolzano creativecommons.org/licenses/by/4.0/de/legalcode. For a simplified description of the freedoms granted Cover Photo: by this license, see: https://creativecommons.org/ Studio photography. Seven people in front of a poster, licenses/by/4.0/deed.en. around 1900 (Photostudio Waldmüller; Office for Film and Media, Lienz–Brunico–Bolzano Bolzano) 2019 Table of Contents

2 - 3 Richard Piock Preface

4 - 10 Clemens Cichocki Photo Archives – Digitization and the ­Challenges It Poses

11 - 15 Christian Meingast C olor Management, Scanner Software and Image Editing – An Overview

16 - 21 Konrad Faltner/Arpad Langer Digitizing Slides Some Solutions Proposed for Private Use

22 - 23 Alessandro Campaner/Notburga Siller Digitizing and Editing Historical ­Photographs Summary

24 - 25 Bibliography and Useful Links

bleTa of Contents 1 Richard Piock Preface

In comparison to other image reproduction waiting for the right light; and secondly its techniques such as printing, lithography reproduction in the darkroom: the choice and copperplate engraving, photography is of paper, focus, aperture and time. The a recent, modern technology; in compari- work in the darkroom determines whether son to scanning – transforming analog pho- a photo becomes a work of art or sinks into tographs into digital impulses – it is old, al- mediocrity. An analog photo possesses a most antiquated. The first scan of a photo certain three-dimensionality. The quality of was not made until 1957, around 120 years a black-and-white glass negative on plati- after the invention of photography, by Rus- num paper from 1905 or a color negative sel Kirsch, who scanned a photo of his on Cibachrome exposed through a Durst three-month-old son in a resolution of Lambda will never be achieved by an inkjet 176 × 176 pixels, thus laying the foundations print from the year 2018. for this technology. Nevertheless, in our digital world, digitizing The contactless scanning of a tactile analog image documents has become a must. photograph using photosensitive sensors Only in digital form can photos be dissemi- and converting it into a cold, mathematical-­ nated and shared globally as well as pre- physical sequence of numbers, in other served, although it is not yet fully clear how words digitizing it, does indeed have many safe storage is. Only in digital form can advantages: just think of the mobility of photos be altered, composed, improved, images and their storage. However it does indeed even falsified, depriving us of their take away one dimension of art from photo­ reliability as a document of the real world. graphy. An analog photo – in other words Scanning, the digitizing of analog photos, is an image projected through a negative the subject of this handout. Scanning as an onto light-sensitive paper and rendered intermediate step between taking the shot visible and durable via a chemical process – and reproducing it, through the choice of has two dimensions of artistic composition. resolution and the use of various process- Firstly the photographic shot: the choice of ing and editing techniques, determines subject, selection of aperture and time, whether an observer perceives an analog

2 DIGITIZING AND EDITING P­ HOTOS photo as a work of art or simply as a print in a world inundated with images. The digi- tizing of negatives or positive templates essentially determines the quality of the reproduction. It is often assumed that the highest resolution – say 4,000 DPI, maxi- mum greyscale, 8 bit – is best. Creating a maxi file that overburdens storage is, how- ever, needless to say, “too much of a good thing.” A basic understanding of correct Proper scanning digitizing should enable documents to be also allows to recorded so that the best quality can be find new details: achieved while avoiding huge volumes of Descent from Monte Sief, data. weapons train- ing 1908 (sum- mit section; original size 12 × 9 cm). This picture is part of the “Lichtbild/ Argento vivo” database of the Interreg project. The author (Photographer: Dr. Richard Piock was born in 1947 in ­Raimund von Klebels- berg; Klebelsberg Merano; he graduated in commercial ­Collection, Institute of Geology, University sciences from the University of World of Innsbruck – TAP, CC BY 4.0) Trade in Vienna; from 1972–1984 he was managing director of Euroclima Bruneck/Sillian; from 1984–2013 CEO of Durst Phototechnik AG; from 1994–2000 Provincial Commander of the Südtiroler Schützenbund; in 2011, he became a founding member of the Tyrolean Archive for Photo- graphic Art and D­ ocumentation (TAP); Chairman of TAP and the associations Velatum and Osttiroler Kulturspur – Kulturnetzwerk.

Rchardi Piock · Preface 3 Clemens Cichocki Photo Archives – Digitization and the Challenges It Poses

This article provides practical guidance for To make the digitization work more effi- digitizing photographs, whether privately cient, it is an advantage to process media at home or in an archive office. It is essen- made of the same material together. It is tial that we develop now, in the present, a helpful to divide them up as shown below: sensitivity for certain subject areas, indeed • Black-and-white glass plate negatives, the general rules of digitization, for the sorted according to size ­f u t u r e . • Color glass plate positives (autochromes) How far the indications given here can be • Black-and-white acetate or polyester neg- implemented depends of course on the atives, sorted according to size resources available, not only in terms of • Black-and-white “top view” materials, workspace, but also, and especially, in sorted according to size terms of finance. • Color “top view” materials, sorted accord- ing to size Workroom This should, if possible, be decorated in a Each medium to be digitized should be as- neutral color (gray, black). Moreover, no signed to the corresponding scanning de- daylight should be allowed to enter the vice. room as color temperatures may differ over the day, thereby preventing a correct Copyright color assessment. Ambient lighting should The right to reproduce material must al- have a color temperature of around 5500° ways be clarified before it is digitized, or at Kelvin. the latest before being published. The eas- iest way is to record the copyright in the Workplace metadata. It is important that there are no primary colors (such as brightly colored pictures) Computer – operating system in the immediate surroundings as the eye Windows or Mac OS: both systems work reacts to these, making color analysis diffi- fine. The simplest solution is to choose a cult. A gray work surface is an advantage system that suits the structure of the oth- and substantially supports the eye. er, already existing devices.

The medium to be digitized Software The first thing to do is to verify the condi- Further software is required in addition to tion of the archive material, together with a the operating system. The most popular conservator if possible, in order to mini- program for image editing is currently mize any damage. ­Adobe Photoshop; simple adjustments can

4 DIGITIZING AND EDITING P­ HOTOS be made using Fast Stone Image Viewer for example, which is available as freeware. It is advisable to choose scanning soft- ware that allows you to profile your work. SilverFast is one of the most popular solu- tions for this. Do not forget an image data- base such as M-Box, Augias, Adlib or Ajaris is required. This raises the question of whether you want to operate the database yourself or rent space in an existing archive and thereby save on maintenance costs.

Digital camera or scanner? The choice of which digitizing devices to use depends primarily on the amount of material you want to archive as well as size and conditions. The fundamental differ- ence in scanners is between transmitted light (light through an object e.g. slide or negative) or reflected light (light shining from the front onto an object such as a photo or printed matter). In the desktop field, scanning devices work up to A3 docu- ment size; there are also large-format sys- Cruse Scanner tems (e.g. Cruse scanners), which can take © Cruse originals of up to 2.50 m in size. Moreover,

Nikon Coolscan Epson A3 Scanner or Plustek © Epson (Symbolic photo) © Nikon

Cemensl Cichocki · Photo Archives – Digitization and the Challenges It Poses 5 from fading even after long periods of time. There are dye and pigment inks avail- able for this purpose. We are more in favor of the pigment inks since they can last for up to 100 years when used with the corre- sponding archive-compatible printing pa- pers (e.g. Hahnemühle).

Calibration and profiling What do these mean? All devices featuring displays, whether monitors or smart- phones, will display the same photo differ- ently if they do not have what is known as color management. Not only can the brightness vary but also the color repro- duction. Small differences can certainly be tolerat- ed. So, for example, the sky on a holiday photo on a smartphone looks just as stun- MegaVision MSI ning as on a much brighter television System incl. RTI it may make sense to have specially de- screen. © MegaVision signed scanners if you are going to digitize Perhaps we perceive the sky as being a small- and medium-format film footage, or brighter blue on one device and a deeper the service provider should have these if blue on the other. The basic information, you outsource the work. “fantastic holiday, superb weather” may For smaller quantities of material to be dig- therefore be reproduced in a lighter or itally reproduced, a digital camera with a deeper shade of blue. When dealing with macro lens is also sufficient. In this case, it archive material however, we are aiming is important to ensure that the camera res- for a faithful reproduction of the original. olution is high enough. Calibration Monitor Calibrating a monitor means simply adjust- There are very large differences between ing the possible settings to a certain value. monitors. In the field of graphic design and This, however, is not sufficient, which is photography, the firm Eizo has earned it- where profiling comes in. self a reputation for monitors that can be perfectly calibrated. If there is no calibra- Profiling tion option on the monitor, basICColor dis- Profiling means measuring and protocoling play SQUID 3 can be used, for instance. the properties of a monitor. To do this we establish the current state by creating a Printer measuring device on the screen. The cur- If your digital copies also need to be print- rent value given is now compared with the ed, it is important to ensure that the quali- target value using the software attached to ty is high enough to prevent the colors the measuring device; a so-called profile is

6 DIGITIZING AND EDITING P­ HOTOS calculated from this and a profile file creat- There should only be two file formats: ed. This file can be recognized by the .icc when creating the file, the RAW format extension. It is stored in the operating soft- should be used. This is our “digital nega- ware and informs the graphics card how to tive,” upon which we can always fall back; create the reproduction. the finished file, the one to be saved, is All these processes may be performed on meanwhile an uncompressed TIFF format input devices such as cameras and scan- file. ners as well as output devices (printers). Note: with JPG file formats a part of the The aim should be for the image on the image information is destroyed every time monitor as well as on the print to be identi- the file is opened and saved again – this cal to (the same as) the original. format should therefore definitely not be used. Resolution and file format Image resolution is the perception by the A RAW file is always a vendor-specific file, eye and arrangement of graphic elements, which is not uniform and therefore not i.e. areas, lines and points. The finer these suitable as the only file storage format. graphic structures are, the higher the im- Here is a selection of file name extensions: age resolution. • Adobe Inc. Digital Negative: .dng • Canon: .tif, .crw, .cr2, .cr3 Input Image Resolution • Contax: .raw A digital photo is made up of pixels. The • Epson: .erf number of pixels determines the image • Fujifilm: .raf resolution of a digital photo. Photograph- • Hasselblad: .3fr, .fff ing or scanning creates an input image res- • Kodak: .dcr, .dcs, .kdc (for EasyShare olution. This is calculated by multiplying P850, Z990), .raw the number of pixels of the height × width • Leica Camera: .raw, .dng, .rwl of a photo. For example: 2,845 pixels × • Mamiya: .mef, .mfw, .iiq 4,284 pixels = 12.2 megapixels. • Minolta Raw: .mrw, .mdc • Nikon: .nef, .nrw Output Image Resolution • Olympus: .orf, .ori Image data for printing and provisioning to • Panasonic: .raw, .rw2 databases produces output image resolu- • Pentax: .pef, .dng tions. As a general rule, in offset printing, • Phase One: .iiq the size (height and width) of the printed • Ricoh: .dng photo in millimeters must be scaled so that • Samsung: .srw, .dng it features 300 pixels per inch (PPI) for the • Sigma: .x3f planned image size. It is then printed in • Sinar CaptureShop for Macintosh: .cs1, dots per inch (DPI). In practice, resolutions .cs4, .cs16 in PPI and DPI are almost identical. Photo- • Sony: .arw (as above: .srf, .sr2) shop uses the term PPI for output resolu- tions. As a general rule for image databas- The following link provides a broad de- es, the raw file can be calculated and scription of different resolutions. scaled so that it is designed for maximum https://www.blitzrechner.de/pixel-zentime- print size based on 300 PPI. ter-umrechnen/

Cemensl Cichocki · Photo Archives – Digitization and the Challenges It Poses 7 Size and ­resolution Image captioning and keywording provision prohibits the removal or altera- (Screenshot: Clemens ­Cichocki) Based on format and content, a complete tion of information provided by rightshold- captioning of the photos should be made ers for the purposes of rights manage- according to IPTC standard; this can also be ment. If rights-management information is done in several languages. IPTC stands for removed or altered without authorization, International Press Telecommunications it must not knowingly be distributed, dis- Council and is the name of an organization; seminated, broadcast, publicly reproduced IPTC IIM is a standard for directly storing or be made publicly available. text information in image files. The interna- Photographers, graphic designers and tional IPTC standard ensures that certain agencies therefore frequently include no- technical, legal and content data are stored tices for this purpose in their image meta- together with the respective photo and are data. By using a specific contractual clause, therefore easy to find and retrieve. Almost they can ensure that digital retransmission every archive nowadays is based on this is only allowed together with the metadata. standard. When in-house thesauri or systemizations/ categories are used, these must of course Metadata and copyright be taken into consideration in the caption- The maintenance of IPTC metadata with ing. regard to authorship in the Copyright No- tice field is recommended for rightsholders EXIF – exchangeable image file format such as photographers, graphic artists or This is a standard format used by the Japan image and news agencies to prove their Electronic and Information Technology In- authorship. dustries Association (JEITA) for storing Copyright protects these data by means of metadata in digital images. The latest ver- a special provision (“Protection of informa- sion of the standard (2.31, April 2010, last tion required for rights management”). This revision July 2016) was formulated by JEITA

8 DIGITIZING AND EDITING P­ HOTOS Description and keywording (Screenshot: Clemens­Cichocki)

in conjunction with another Japanese or- When digitizing, it is efficient to write all ganization, CIPA (Camera & Imaging Prod- keywording directly into the file before sav- ucts Association, a successor organization ing the produced data. of the JCIA or Japan Camera Industry Asso- ciation). Digitizing the work yourself or outsourcing?­ Archive structure The team needs to determine the resources When carrying out digitization work, it is available internally in terms of staff and important to respect the archive structure whether the digitization can be done in- and transfer this to the image data. house. Are all the devices already available The image data produced are stored with or must new purchases be made? How file names, which correspond to the inven- large is the stock to be digitized? It is also tory number. It is also helpful to document advisable to get quotes from service com- the various work processes photographi- panies and then decide whether the digitiz- cally, so that the whole process can be un- ing work is to be done internally or out- derstood later. sourced.

Cemensl Cichocki · Photo Archives – Digitization and the Challenges It Poses 9 The scan resolu- Original document Output format Scanning resolution at least tion has to be ­format fixed according to the output 24 × 36 mm 13 × 18 cm/300 dpi 1,500 dpi print size 6 × 7 cm 13 × 18 cm/300 dpi 770 dpi

9 × 12 cm 13 × 18 cm/300 dpi 450 dpi

13 × 18 cm 13 × 18 cm/300 dpi 300 dpi

18 × 24 cm 13 × 18 cm/300 dpi 225 dpi

20 × 25 cm 13 × 18 cm/300 dpi 195 dpi

Outside firms must be able to fulfil the spe- cific requirements. Particular attention should be paid to ensuring that the files are delivered at the very least in Adobe RGB or in one of the larger color spaces. The scanning resolution should also be de- fined depending on the desired print size. It should also be clear how long the project will take. All original documents in color should also be scanned in color; all black and white originals in greyscale. The author Still/inactive archive (master copy) and Clemens Cichocki was born in 1956 in work archive (working copy) Graz; in 1985 he qualified as a master Digitization, which should only be carried photographer; since 1986 he has been out in the RAW format, produces the so- a self-employed professional photogra- called master copy. This is generally stored pher initially in the field of advertising in the TIFF format separately (not where and catalog and industrial photogra- everything else is stored). phy, then producing facsimile replicas The work archive is now the database, of medieval manuscripts for interna- which contains our passworded and usable tional publishers; data. he was originator and organizer of the Faces of a City photo exhibition, part of the 2003 Cultural Month in St. Peters- burg; co-organizer of the kick-off event “1st Social, Cultural and Economic ­Forum” (exchange with experts from St. Petersburg) in Graz in 2004 as well as of the Social Meeting event held in 2006 in St. Petersburg.

10 DIGITIZING AND EDITING P­ HOTOS Christian Meingast Color Management, Scanner ­Software and Image Editing – An Overview

Colors closely. This is the basic principle of color In order to avoid color issues, consider the management. following: In this context, the Lab color space acts as • For visual display, use applications that a color-connecting space, converting colors assist with color management, e.g. Adobe from one color space to another, for exam- Photoshop or Adobe Lightroom. ple from RGB to CMYK. • For correct color reproduction, use a The color spaces of digital camera stan­ monitor (for example Eizo ColorEdge) that dard Adobe RGB and standard ISO Coated is specially designed for color manage- v2 printing inks have reproducible differ- ment; set the color temperature at 5,000 ences. While these cannot be matched, Kelvin. color management can however be used to • Use the correct printing inks, with for ex- bring them closer together. If the colors to ample Epson or Canon equipment. be printed on the end product are taken • Check the image under suitable light (light into consideration during the photograph- box, such as JUST standard light). ing, design and production of printing forms and are defined as a common stan­ What does Color Management mean? dard, the data can be processed smoothly Color Management provides a uniform through all stages of production. color-handling environment and uses a Color space: Adobe RGB encompasses a common color reference (color profile) for larger color gamut than sRGB and should each stage of the production process (mon- therefore be used whenever possible. itor, multi-function device, inkjet printer, digital camera, offset and DDCP – Direct Color models Digital Color Proofing). The aim is to work • Additive Color System RGB (Red, Green, with a unified image throughout the pro- Blue). duction process, using the device profile to • Subtractive Color System CMYK (Cyan, adapt the colors to suit the various devices. Magenta, Yellow, Black). Monitors and printers have specific color characteristics. It is impossible for these Color settings in Adobe Photoshop CC characteristics to match perfectly. It is, how- Unfortunately, many users do not bother ever, possible to convert the color data of with making the correct settings, due to individual devices over a common color lack of knowledge. space (a color space independent of all the • Profiles should be set. devices CIE XYZ, CIE L*a*b) so that the vari- • Color management guidelines should be ous colors resemble each other more set.

Cristianh Meingast · Color Management, Scanner ­Software and Image Editing – An Overview 11 Embedding a profile in Adobe Photoshop (Screenshot: Christian Meingast)

Assigning a ­profile in Adobe Photoshop (Screenshot: Christian Meingast)

12 DIGITIZING AND EDITING P­ HOTOS • It is in principle not possible to work in • The pixels of the original image are opti- Photoshop without color management. mized in terms of color to match the tar- • Profiles must in principle be embedded. get color space. • Embedding profiles is like applying a • The result is a new (changed) source color ­Post-it note to a data file: it is basically a space. guide to correct color processing. • This process cannot be reversed without some loss. Assigning a color profile in Adobe • Conversion leads to the production of ­Photoshop CC data sets, which correspond exactly to • The original image remains unchanged. the desired target color space. • The attached source color space transla- tion (source profile) in conjunction with a IT8 targets target profile will produce the best possi- IT8 is a summary of several ANSI color-con- ble output result. trol standards. Today scanners, digital cam- • If the profile information is discarded dur- eras, monitors and printers are calibrated ing transfer, a correct “translation” is no according to these standards to ensure longer possible! color accuracy. LaserSoft Imaging produces its own IT8 Converting a color profile to Adobe targets, ensuring maximum precision in Photoshop CC Target production. Major companies around • Conversion is from a source color space the world use LaserSoft Imaging Targets (such as RGB) to a target color space (such and are convinced of their quality. Use as CMYK). ­Reflective Targets to create color profiles

An IT8 target, color samples for calibrating scanners, ­cameras etc. and creating color profiles (www.silverfast.com)

Cristianh Meingast · Color Management, Scanner ­Software and Image Editing – An Overview 13 for the scanning of reflective (“top view”) inal photo files. Lightroom incorporates templates (10 × 15 cm and 13 × 18 cm) such many features required to organize, edit, as photo prints. Use Transparent Targets store and transfer images. It works across (35 mm, 6 × 7 cm and 4 × 5 inch), to create desktop, mobile devices and the web. color profiles for scanning film templates such as slides. Affinity Photo – Professional photo-edit- ing software. Thanks to the extensive array Software in practice for scanning and of tools, which has been specially tailored image editing to the needs of creative professionals and SilverFast – A standard in the field of scan- professional photographers, images can be ner and archiving software, also due to its quickly and flexibly edited, retouched or fully automatic IT8 calibration and mul- assembled into a multi-layered montage. ti-exposure function; it currently supports over 340 different scanner models. As part Fast Stone Image Viewer – Useful free- of the Archive Suite and the lossless raw ware for simple photo-editing using the data concept, SilverFast saves slides, film- most important image file formats. strips, Kodachrome images and photos with all recordable image data as raw data Some Photoshop scripts … and tricks images. These may even comprise the in- Magic Scripts – Here you can download frared channel for subsequent dust and free scripts for Photoshop, which elegantly scratch removal. solve a number of common problems that designers may encounter. The page pre- Adobe Photoshop Elements – Offers nu- sents some videos (in English) which show merous ways to organize, edit, design and exactly what each of the scripts does. share your photographic material. When http://bereza.cz/ps/#two you start the program, slide shows and photo and video collages are created auto- FFT Filter (FFT stands for Fast Fourier matically. Automated editing options help Transform) – Adobe Photoshop has no such you to get the most out of your photo- in-house filter on board (while Affinity Pho- graphic material. It also offers a wide range to does). Without this filter, it is relatively of intuitive ways for you to design, organize difficult to remove a “silk raster” surface on and share your work enabling you to create portrait and family photos from scanned unique solutions. pictures; with it, it becomes child’s play. http://ft.rognemedia.no/ Adobe Photoshop – Photo editing with pixel manipulation, the leading program for Photoshop Scripting (in English) – For use creative image editing. Photoshop is con- by beginners and professionals alike. For tinuously evolving with new functions be- those who want to learn to write their own ing added on a regular basis. actions, scripts, HTML panels and Photo- shop plug-ins. Adobe Lightroom – A cloud-based com- https://www.ps-scripting.com/ plete photo service. Here, no changes are made to the original data, so there is no The Shadows/Highlights dialog box in need to make additional copies of the orig- Adobe Photoshop, which may be accessed

14 DIGITIZING AND EDITING P­ HOTOS through Image > Adjustments, makes it easier to reconcile the light and dark areas of images. Using the gradation curve alone, you cannot adjust this effect as it is based on a soft focus. If you use Shadows/High- lights as a smart filter, and apply it to a smart object, you can convert each layer by right-clicking and selecting “Convert into smart object.” Double click on the filter to open Shadows/Highlights as needed to ad- just the values.

The New Adjustment Layer dialog in ­Adobe Photoshop – is accessed via Layers > New Adjustment Layer – An adjustment layer allows you to apply color and tonal adjustments to an image without altering Shadows/High- the pixel values permanently. You can for lights in Adobe Photoshop example create a tone level or gradation (Screenshot: Christian curve adjustment layer, instead of making Meingast) adjustments directly to the picture. The color and tone adjustments are stored in the adjustment layer and applied to all under­lying layers. So by making a single correction, multiple layers can be si­mul­ta­ neous­ly adjusted. The changes may be discarded at any time and the original im- age restored.

The author Christian Meingast, a trained photo dealer, has traveled around for 30 years for Apple Computers and main- tains close contacts with photogra- phers, graphic designers and printing companies throughout Tyrol and South Tyrol; for many years he has organized training courses in South Tyrol and Tyrol on the topics of digitization, im- age editing and color management.

Cristianh Meingast · Color Management, Scanner ­Software and Image Editing – An Overview 15 Konrad Faltner/Arpad Langer Digitizing Slides Some Options Proposed for Private Use

Slides are invaluable testimonies of our ex- then the connection is retained. Additional perience and therefore carry a high senti- information on the cataloguing or indexing mental value. However appealing a slide of photographs can be found in Handout 3: show made in the company of friends or “How to Preserve and Organize Photo- family using a slide projector may be, in the graphs.” digital age it is increasingly becoming a pas- In order to scan or photograph slides, it is sion for nostalgics. Digitizing our slides al- necessary to remove any existing glass lows us to keep up to date with technical frame. Always use cotton gloves to avoid progress and provides many advantages direct contact with the skin, which is acidic. for our images with respect to analog pho- Cleaning with a fine, soft, clean paintbrush tographs. The files obtained are available is essential for optimum digitization results at all times on hard disks, can potentially and has the advantage of the originals be- be modified using image-editing programs ing exposed to fewer acidic or abrasive and, most importantly, if the data is main- substances or particles. tained properly they can be preserved over To ensure your slides last as long as possi- the long term. ble, it is advisable to store them appropri- ately. A relative humidity of between 30% Preparations and general indications and 50% and temperatures from around Before beginning the digitizing process, it is 13°C to maximum 20°C, preferably in dark advisable to organize slides and wherever surroundings where there is no risk of possible make a selection: Are there sever- flooding or fire, are suitable for this pur- al slides depicting the same subject? Are all pose. Proper storage ensures you have ac- slides equally relevant? Making a careful cess to high-quality slides even after sever- selection can save you a great deal of time al years, which if necessary can be scanned later on, and also minimize expense if you again in a higher resolution. In Handout 3, have to outsource the work. entitled “How to Preserve and Organize When archiving and digitizing slides, one Photographs,” you will find further detailed should always record their content at the information on cataloguing and indexing same time. Assigning an inventory number photographs. is essential to linking the original with the scan and content. Important data may be Several different digitization options are held for each individual slide and the inven- set out here below. The following indica- tory number allows this to be assigned at tions apply to all of the options: any time to this specific image. If the scan • Disable automatic filters on your DSLR file name corresponds with the inventory (Digital Single-Lens Reflex) camera and number, which is highly recommended, automatic image-correction programs on

16 DIGITIZING AND EDITING P­ HOTOS the scanner; the closer the properties are • Always save your data on several hard Cotton gloves to the original, the better. drives (backup copies), and if possible do should be used for the correct • The TIFF file format is preferable to less not store all of these in the same place. handling of stable and compressed formats such as • If you want to edit your digital reproduc- slides. JPEG. Non-proprietary file formats are tions, it is wise to save an original file and (Photographer: Konrad Faltner, Office for Film suitable for long-term archiving. modify a copy you have made, so that you and Media, Bolzano, CC BY 4.0) • When photographing, ensure you use as always have the original data file to fall uniform and color-neutral a light source back on if necessary. You can use RAW as possible; avoid so-called mixed light files to edit your images, however the TIFF (light coming simultaneously from light format should be used for long-term im- sources composed of different colors). age archiving. • A high-quality digital reproduction can be • Classify your slides and digital image files achieved by scanning small size transpar- using the same method. If you assign an encies (24 x 36 mm) with an image resolu- inventory number, you can create a link tion of at least 2,700 PPI and where possi- between the slide and the digital repro- ble 16-bit color depth. Use the RGB color duction. space for your digital reproductions.

Konrad Faltner/Arpad Langer · Digitizing Slides 17 Left: The assem- bly and use of a slide duplicator Photographing using a slide duplicator • Memory card of sufficient capacity (Photographer: Konrad Faltner, Office for Film (lens extension) • Adapter ring to connect the lens to the and Media, Bolzano, CC BY 4.0) The following materials are required for slide duplicator housing digitizing standard-size slide transparen- • Slide duplicator (housing with slide holder) Right: Slide ­duplicator as- cies (24 mm × 36 mm) using a slide duplica- • Light source (evenly diffused light) sembly on lens tor: Using an SLR camera and slide duplicator and DSLR • DSLR camera to photograph your slides means you can ­c a m e r a • Suitable lens (macro lens 50 mm focal begin digitizing your slides without any ma- (Drawing: Arpad Langer, Office for Film and Me- length) jor preparation work. dia, Bolzano, CC BY 4.0)

Slide photo- graphed using slide duplicator. When photo- graphing, a part of the slide mount may still be visible; post-processing of digital materi- al (cutting) is re- quired. Pictured: Fane Alpine vil- lage above Mühlbach, as photographed in 1983. (Photographer: Franz Mayr, LAV039-01090. Franz Mayr Portfolio, Office for Film and Me- dia, Bolzano, CC BY 4.0)

18 DIGITIZING AND EDITING P­ HOTOS Slide holder on matte glass pan- el with back- lighting (Photographer: Konrad Faltner, Office for Film and Media, Bolzano, CC BY 4.0)

In order to set up the slide duplicator, first Photographing using a repro stand and connect the housing of the SLR camera to light box the lens; now using an adapter ring, con- It is also possible to digitize your slide stock nect the lens to the lens barrel on the slide using a repro stand and a light box. To do duplicator (when buying, take note of the this, you need the following: lens size or diameter and model). Next the • DSLR camera slide can be positioned in the slide holder • Lens (50 mm f2 or 60 mm macro lens) on the housing and pushed until it en­ • Repro stand gages. Use as evenly diffused lighting as • Memory card of sufficient capacity you can, in order to avoid undesirable over- • Light box to be used as backlighting for exposed or underexposed parts on your the slides images. The use of a repro stand in combination Please note that the settings on your SLR with a light box supports easy and quick camera must be adjusted to suit the light- digitization of slides. Position the light box ing conditions, type of lens and character- so that it acts as a baseboard for the repro istics of the slide; however in general, al- stand. Attach the SLR camera to the cam- ways aim to maintain as far as possible the era arm to enable it to be more precisely same lighting conditions and camera set- positioned on the column of the repro tings and avoid mixed light wherever possi- stand. Now the photograph template (slide) ble in order to achieve consistent results in can be positioned on the light box. The SLR terms of quality. camera can now be placed in position on This digitization option offers the advan- the column of the repro stand: The dis- tage of producing good, usable digital re- tance to the template must be determined productions quickly and straightforwardly. first, depending on the type of lens or

Konrad Faltner/Arpad Langer · Digitizing Slides 19 model. It is important to always maintain • Modified slide projector (possibly smaller the same lighting conditions and camera dim lights to create diffused light) settings as far as possible, in order to • Suitably sized matte glass panel (frosted achieve consistent results in terms of qual- glass) or similar plastic panel ity. • Light source (uniformly diffused light) You can also digitize your slides by convert- Photographing against backlighting ing a slide projector, however this does re- using a slide holder quire some preparation. Detailed instruc- The following materials are required for tions on adapting or converting a slide this digitizing option: projector are relatively easy to find online. • DSLR camera To do this, the casing must be dismantled, • Suitable lens and the projector lens removed. The existing • Tripod or a means of fixing the camera in lamp must be replaced with a weaker one place (e.g. 75 W), because if lighting during photo- • Memory card of sufficient capacity graphing were to be too strong, the solution • Matte glass panel would be to use a less powerful lamp. Please • Suitable slide holder made of card, wood ensure that the lamp emits as uniformly dif- or other material fused light as possible by placing a small • Light source (uniformly diffused light) matte glass (frosted glass) or plastic panel in Using a matte glass panel (e.g. frosted front of it. The slide projector casing can glass) with a slide holder positioned in now be replaced. Now determine the dis- front of it, it is relatively easy to photo- tance, depending on the model, between graph slides using a DSLR camera. This re- the slide (in the projector) and the camera quires the glass panel to be attached verti- sensor: Also in this case useful instructions cally and a ready-made or self-constructed can be found online. Switch the projector on, slide holder (cardboard or wood) to be at- photograph the slide and change over to the tached directly onto it. It is recommended next using the projector control lever. for the holder to have an opening so that This method of photographing slides re- slides can quickly be changed without hav- quires somewhat more manual dexterity ing to remove the holder from the glass yet produces very good results and en­ panel every time you want to change a ables multiple slides to be digitized reason- slide. Also make sure that the lighting be- ably quickly. hind the matte glass panel is evenly distrib- uted. Now you can bring the camera with a Purchasing a slide scanner tripod into position in front of the attached You can also consider purchasing or hiring a slide and begin photographing. commercially available slide scanner. Prices vary greatly depending on model, supplier Converting a slide projector and possibly hire period. When choosing a To use a modified slide projector for digitiz- piece of equipment, your needs should de- ing, you will need the following: termine your decision: do you need to scan • DSLR camera a large number of slides or is your slide • Suitable lens (preferably a macro lens) repertoire manageable? Most slide scan- • Tripod or camera mount option ners can only digitize one slide per scan, • Memory card of sufficient capacity while some models can automatically scan

20 DIGITIZING AND EDITING P­ HOTOS Slide digitized using profes- sional scanner. Pictured: the Fane Alpine vil- lage above Mühlbach, as photographed in 1983. The pic- ture bears in- ventory number LAV039-01090 and was digi- tized as part of the Lichtbild/Ar- gento Vivo pro- ject in the Office for Film and ­Media, Bolzano. (Photographer: Franz Mayr, Franz Mayr Port- folio, Office for Film and Media, Bolzano, entire magazines. Also bear in mind the them. When contracting out this work, con- CC BY 4.0) time that you want or are able to invest; as sider important factors such as scanning a rule, three minutes should be taken into resolution, faithful reproduction (no auto- account for each slide scan. An important matic image processing) and most impor- factor here is the maximum possible reso- tantly, non-proprietary file formats such as lution, which the manufacturer or supplier TIFF suitable for long-term archiving. specifies in PPI (pixels per inch) or DPI (dots per inch). In order to achieve high-quality digital material, as a guideline, scans from The authors standard size slides (24 x 36 mm) should Konrad Faltner was born in 1962 in have a resolution of at least 2,700 PPI. Bressanone; he attended a vocational school for radio and TV technicians, Getting your slides scanned has directed a large number of photo­ ­professionally graphy and video courses and since Should the options listed above not be 1998 has been Head of Department for practicable, it is always possible to consider Media Technology at the Office for contracting out to professional providers. Film and Media, Bolzano. This has the advantage that slides in large Mag. Arpad Langer was born in 1990 in numbers (whole magazines) can be digi- Bolzano; he graduated in archaeology tized quickly and to a very high quality. The of the Roman provinces in Innsbruck; disadvantage is of course the cost. De- he works on archaeological and numis- pending on the number of slides, scanning matic research projects and since resolution, desired file format and any 2018 has participated in the “Lichtbild/ post-treatment processing, the price per Argento Vivo. Cultural Treasure Photo­ slide may fluctuate considerably. It is there- graphy” project sponsored by the fore recommended to narrow down the Office for Film and Media in Bolzano. selection of slides beforehand and clean

Konrad Faltner/Arpad Langer · Digitizing Slides 21 Alessandro Campaner/Notburga Siller Digitizing and Editing Historical ­Photographs Summary

The contributions in this handout give some indications on how different types of photographs can be digitized, in other words scanned or reproduced using a cam- era. When dealing with both historical and contemporary photographs, it is always im- portant to take into account other key ar­e­as; legal issues were touched upon as well as long-term archiving and indexing, or cat­ The authors aloguing. These aspects will be dealt with Alessandro Campaner was born in in later handouts for the “Lichtbild/Argento 1961 in Bolzano. He has done ad- Vivo. Cultural Treasure Photography” pro- vanced training in the field of conser- ject. This graphic summarises the key con- vation and archiving, and is the head tent of the handbook “Digitizing and Editing of the photo archive in the South Historical Photographs.” ­Tyrolean Provincial Archives. He works in the IT Division of the Department for Historical Preservation of the Autono- mous Province of Bolzano – South Tyrol. He has also produced several publications and exhibitions on the subject of archiving and museums. Mag. Notburga Siller was born in 1984 in Merano. She studied history as well as journalism and communication sciences in Vienna. She has worked on various research projects and has experience in the field of museums and communication. Since 2017 she has taken part in the “Lichtbild/Argento Vivo” project sponsored by the Office for Film and Media in Bolzano, where she has served as project manager and archivist for the media archive since 2018.

22 DIGITIZING AND EDITING P­ HOTOS Save as a TIFF file Aims: • Faithful digital ­reproduction of photos Work environment: • Back-up • neutral colors of image Two possibilities • neutral, constant light ­information • Scanning • suitable • Repro for h­ istorical ­photography ­photographic ­m a t e r i a l

Perform image editing on a Note: working copy of the file. no automatic image correction Color mode Color mode Digitization for printing: on the screen: method used CMYK, RGB, additive depends on ­subtractive color process original. color process

Use calibrated scanners, Note: cameras and Note: monitors. Do not save no automatic only in compressed color matching format such as Color space: Save JPEG. Adobe ­metadata RGB (1998) as IPTC. or CIE L*a*b

Graphic used: Schnittlerhof hay barn (Rot- wand), 1983 Photographer: Franz Mayr, Franz Mayr Stock, Office for Film and ­Media/Autonomous Province of Bolzano – South Tyrol, LAV039- 01086, CC BY 4.0

Aessandrol Campaner/Notburga Siller · Digitizing and Editing Historical ­Photographs 23 Recommended Literature and Links

Literature Ihrig, Sybil & Ihrig, Emil, Scanner e acquisizione delle immagini, McGraw-Hill, Milan 1996. Ihrig, Sybil & Ihrig, Emil, Immagini digitali. Trattamento e stampa, McGraw-Hill, Milan 1996. Gonzalez C., Rafael & Woods E., Richard, Elaborazioni delle immagini digitali, Milan 2003. Schmidt, Marjen, Fotografien. Erkennen – Bewahren – Ausstellen (Museumsbausteine, Vol. 17), Berlin–München 2018. Vacchiano, Michele, La riproduzione fotografica di documenti, Zanichelli, Bologna 1987.

Links (July 12, 2019) Adobe image processing programs: URL: www.adobe.com Eizo monitors: URL: www.eizo.at FastStone image processing programs: URL: https://www.faststone.org/ Image resolution: URL: www.c-muc.de/fotografie/fototechnik-blitz-blende-brennweite-zoom-co- ppi-dpi/bildaufloesung-ppi-dpi/ International Color Consortium: URL: www.color.org/index.xalter Klaffki, Lisa, Schmunk, Stefan & Stäcker, Thomas: Mehr als nur Scannen: Die Digitalisierung von Kulturgut in Deutschland, 2018: URL: irights.info/artikel/digitalisierung-kulturgut/29157 Konferenz der Leiterinnen und Leiter der Archivverwaltungen des Bundes und der Länder ­(Conference of the Heads of Archives Administration of the Federal and State Governments): Empfehlungspapier: Bilder und Töne bewahren, 2016: URL: www.bundesarchiv.de/DE/Content/ Downloads/KLA/bewahrung-bild-ton.pdf?__blob=publicationFile MEMORIAV, Empfehlungen Foto, 2019: URL: memoriav.ch/foto/empfehlungen-foto/ Pixel to centimeter conversion: URL: www.blitzrechner.de/pixel-zentimeter-umrechnen/ Pöschel, Alexander & Pöschel, Karin: Wie viel Auflösung brauche ich wann? URL: www.poeschel. net/fotos/technik/aufloesung.php?bildaufloesung=10 Scan software: URL: www.silverfast.de Standardized lighting: URL: www.just-normlicht.com Tips for purchasing a scanner for film footage: URL: www.filmscanner.info/FilmscannerKauf.html Wendel, Klaus: „Checkliste“ zur Bewertung von Angeboten zur Digitalisierung von Kulturgut, Berlin 2013: URL: dx.doi.org/10.12752/2.0.001.1

24 DIGITIZING AND EDITING P­ HOTOS Professional Handling Open Access Photography Goes Future