M ARCHIVING2016 A April 19-22, 2016 • Washington, DC R

G www.imaging.org/archiving General Chair: Kari Smith, O MIT Libraries, Institute Archives and Special Collections R P Y R A N I M I L E R P

Sponsored by the Society for Imaging Science and Technology April 19-22, 2016 • Washington, DC

About the Conference

The IS&T Archiving Conference brings together provides a forum to explore new strategies an international community of imaging experts and policies, and reports on successful projects and technicians as well as curators, managers, that can serve as benchmarks in the field. and researchers from libraries, archives, mu- Archiving 2016 is a blend of short courses, seums, records management repositories, in- invited focal papers, keynote talks, and formation technology institutions, and com- peer-reviewed oral and interactive display mercial enterprises to explore and discuss the presentations, offering attendees a unique field of digitization of cultural heritage and opportunity for gaining and exchanging archiving. The conference presents the latest knowledge and building networks among research results on digitization and curation, professionals.

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) s e g o

• IOP/Printing & Graphics Science Group V h p o t s

• ISCC – Inter-Society Color Council i r h C

• Museum Computer Network (MCN) : o t o h • The Royal Photographic Society P Short courses offer an intimate setting to gain more in-depth knowledge about technical aspects of digital archiving. View all short courses Conference Committee beginning on page 3.

General Chair Peter Burns, Burns Digital Steering Committee Kari Smith, MIT Libraries, Institute Imaging (USA) Peter Burns, Burns Digital Archives and Special Collection Kathrine Hougaard Edsen Imaging (USA) (USA) Johansen, Copenhagen City Suzanne E. Grinnan, IS&T (USA) Archives (Denmark) Ulla Bøgvad Kejser, Det Program Chair Mikko Lampi, Mikkeli University Kongelige Bibliotek/The Royal Ulla Bøgvad Kejser, Det of Applied Sciences (Finland) Library (Denmark) Kongelige Bibliotek/The Royal Erik Landsberg, Museum of Kari Smith, MIT Libraries, Institute Library (Denmark) Modern Art (USA) Archives and Special Collection Volker Märgner, Technische (USA) Short Course Chair Universität Braunschweig David Walls, US Government Michael Horsley, National (Germany) Printing Office (USA) Archives and Records Phil Michel, Library of Congress Administration (USA) (USA) Christoph Voges, consultant Technical Program Committee (Germany) Michael Bennett, University of Kate Zwaard, Library of Connecticut (USA) Congress (USA)

©2016 Society for Imaging Science and Technology (IS&T). Cover image: Suzanne E. Grinnan Archiving 2016

Conference At-a-Glance Important Dates All short courses and technical sessions will Hotel registration deadline: take place at the National Archives , 700 March 7, 2016 Pennsylvania Ave. Please enter at the corner of 7th St NW and Constitution Avenue where Early registration deadline: March 21, 2016 it say “Group Entrance”. Please arrive early as you will need to go through security screen - Note: There is NO onsite ing to enter the building. registration for this event due to National Archives rules. Atten - Registration Desk Open dees must register for the event Tuesday, April 19 7:45 am – 5:30 pm ahead of time either online, by Wednesday, April 20 8:00 am – 4:00 pm fax, or by calling the IS&T office. Thursday, April 21 8:30 am – 3:00 pm Friday, April 22 8:30 am – 12:30 pm

Tuesday, April 19 Thursday, April 21 • Short Course Program (see page 3); • Society Awards separate registration fee required. • Exhibition You may register for short courses • Technical Papers Program only; there is no requirement to - Imaging Standards and Quality attend the technical conference. Assurance • Meet and Greet at Iron Horse Tap - Imaging Strategies and Workflows Room, 507 7th St NW, 5:30 pm; locat - - Dissemination and Use ed 3 blocks from NARA. • Behind-the-Scenes Tours; see page 17 for details. Wednesday, April 20 - Library of Congress: Preservation • Opening Keynote: Spectral Imaging Directorate of Manuscripts: Recovery of the - National Archives and Records Past and Preservation for the Future ; Administration: NARA Innovation Roger Easton, RIT, and Keith Knox, Hub consultant - National Gallery of Art: Division of • Exhibition Imaging and Visual Services (DIVS) • Exhibitor Previews • Technical Papers Program Friday, April 22 - Advanced Imaging Techniques • Closing Keynote: Implementing Prac - - Asset Management tices that Lead to Use or Reuse of your - Interactive Paper Previews Collections , Emily Gore , Digital Public - Interactive Paper Session Library of America - Preservation Formats and • Technical Papers Program Frameworks - Metadata Standards and • Conference Reception: Hill Country Implementation BBQ, 410 7th St NW - Interactive Paper Session - Image Color Science and Analysis Tools - Evaluation and Impact • Interactive Papers

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The Venue: National Archives, Washington, DC

The National Archives— Museums and the National Gallery of Art. home to the US Declaration Numerous cultural heritage institutions, the of Independence and US Capitol, the White House, other govern- Constitution—will host ment departments, national monuments, Archiving 2016. restaurants, and Metro transit stations are within easy walking distance. The 2016 Located in the heart of Washington, DC, the meeting occurs at the end of the Cherry Blos- National Archives borders the National Mall, som Festival, when the city’s gardens and which is home to many of the Smithsonian parks come alive with blooms.

Accommodation and Transportation

Lodging Accommodation Airport Information A special hotel rate of $159/night, including For planning purposes, attendees may arrive internet access, has been secured for Archiv- at any of the three Washington, DC airports. ing 2016 attendees at the Sheraton Silver • Reagan National Airport (DCA) is 14 Spring Hotel in Silver Spring, Maryland. The miles from the hotel. It offers the conven- hotel is located three blocks from the Silver ience of Metro access to Silver Spring Spring Metro Station. A 20-minute Metro ride with one train change; taxi rates are ~$35. (red line) takes attendees to Gallery Place/ • Baltimore Washington International Airport Chinatown, a short walk from the National (BWI) is 32 miles from the hotel by shuttle Archives. Hotel reservations must be made (~$30) or taxi (~$80); there is also a $7 by March 7, 2016. bus to the Greenbelt Metro, with one Metro train change enroute. Sheraton Silver Spring Hotel • Dulles International Airport (IAD) is 30 www.sheratonsilverspring.com miles from the hotel and hosts the most 8777 Georgia Avenue international flights. Shuttle/Metro combo, Silver Spring, Maryland 20910 SuperShuttle (~$35), and taxi (~$80) service are all available from IAD. Rate: $159 + 7% occupancy and 6% state sales tax per night Getting to National Archives Metro (www.wmata.com) National Archives is Rate honored +3 days prior to and after the served by the Gallery Place/Chinatown Staion conference based on availability. Note: A (Red line) and Archives/Navy-Memorial/Penn $50 fee is incurred for checking out prior to Quarter Station (Yellow and Green lines). your confirmed departure date. Be sure to make any changes before checking in. Parking There is no parking at NARA itself. Street parking is limited both in terms of length To Reserve of time and availability. Garage parking is via Online: http://bit.ly/1PAC0PB recommended. via Phone: +1 301 589 0800 Reference: IS&T Archiving2016 Weather The average temperature in April is Check in/out 3:00 pm/noon 57°F/14°C. Some rain can be expected.

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Short Course Program: Tuesday, April 19th

NEW for 2016 ArchSC01: Computational Photography Techniques Special Notes for Short Courses for Cultural Heritage Documentation and Archiving: Reflectance Transformation Imaging All Short Courses take place at the National Archives, 700 Pennsylvania Ave. Please enter (RTI) and Photogrammetry at the corner of 7th St NW and Constitution 9:00 am – 12:00 pm (3 hours) Avenue, the entrance for Groups. Please arrive Instructors: Carla Schroer and Mark Mudge, early as you will need to go through security Cultural Heritage Imaging screening to enter the building. We encourage you to register for courses in Through lectures, demonstrations, and discus - advance to insure that they run. sion, this short course provides a condensed overview of computational photography and Note that you may register for short courses only; conference registration is not required to its application to cultural heritage. Computa - register for classes. tional photography extracts and synthesizes information from image sequences to create a new image containing information not demonstration of the RTI photographic cap - found in any single image in the sequence. ture sequence, using standard digital photo - This course offers an intensive introduction to graphic equipment is performed during the the technologies, software, photographic course and new research techniques using equipment, and methods for reflectance these data sets are presented. transformation imaging (RTI), and 3D pho - The first half of the course features new togrammetry—techniques that are being tools for the near-automatic recording and applied to a variety of art objects and other archiving of RTI contextual and process meta - examples of material culture. data. The creation of Digital Lab Notebook RTI creates scientific digital representa - (DLN), which serves the same function as a tions of an imaging subject’s shape and col - written scientist’s lab notebook, is discussed. or. These digital representations are generat - We explore the necessity for transparent eval - ed from image sequences where the light uation of scientific digital representations. illuminating the photo’s subject is moved to a The goal is to establish the conditions under new location for each photograph. The light - which a “real world“ artifact can be digitally ing information from this image sequence is represented as a “digital surrogate”, which mathematically synthesized into an RTI im - can reliably serve as a digital stand-in that age. The subject’s shape and color is exam - can be used for subsequent scientific or schol - ined in an RTI by interactively re-lighting the arly examinations. New software tools to subject from any direction and applying aide in saving the appropriate material for a mathematical enhancements within an RTI digital lab notebook are presented. software-viewing environment. 3D Photogrammetry refers to the prac - RTI is used on a wide range of subjects, tice of deriving 3D measurements from photo - including documenting low-relief surfaces like graphs. It can be used for documenting 3D paintings and engravings. The course shows subjects, monitoring changes to these sub - examples from museums and historic sites in - jects over time, and a wide range of other cluding inscriptions, rock art, manuscripts, uses. Photogrammetry creates accurate and and paintings. It also provides an overview measurable 3D models in a wide range of of free RTI software, including newly released scales. Recent technological advances in and planned software updates. In addition, a digital cameras, computer processors, and

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computational techniques, such as sub-pixel leads the training programs at CHI, along with work - image matching, make photogrammetry a ing on field capture projects with Reflectance Transfor - portable and powerful technique. It yields ex - mation Imaging, 3D photogrammetry, and related tremely dense and accurate 3D surface data. computational photography techniques. She also It can be generated using a sequence of leads the software development and testing activities photos and captured with standard digital at CHI. She spent 20 years in the commercial soft - photography equipment, in a relatively short ware industry, managing and directing a wide range period of time. of software development projects including object ori - The second half of the course explores ented development tools, desktop publishing software, how photographic sequences of a subject can and Sun Microsystems’ Java technology. be captured according to principles that max - Mark Mudge is President and co-founder of imize the available information from a series CHI. Mudge has a BA in philosophy from New Col - of viewpoints to yield the best results. We also lege of Florida (1979). He has worked as a profes - see how these software platform-independent sional bronze sculptor and has been involved in pho - rule-based data sets can be transformed into tography and 3D imaging for more than 20 years. He 3D representations and confidently reused by is a co-inventor, with Tom Malzbender, of the compu - others now and in the future. tational photography technique, Highlight Reflectance Transformation Imaging. He has published 14 articles Benefits and book chapters related to scientific imaging of cul - This course enables the attendee to: tural heritage material and its long-term preservation. • Have a clear understanding of two com - He serves on several international committees, includ - putational photography imaging tech - ing The International Council of Museums' (ICOM) niques, how they are used, what they can Documentation Committee (CIDOC). reveal, and what is involved in adopting them in cultural heritage practice. • Appreciate the open source RTI software ArchSC02: Scanner & Camera Imaging tools, with freely available User Guides, Performance: Ten Commandments a free user forum, and other supporting 9:00 am – 12:00 pm (3 hours) materials. Instructors: Don Williams, Image Science • Understand software independent Associates, and Peter Burns, Burns Digital Imaging photogrammetry image capture • Learn about the Digital Lab Notebook This is a no-nonsense course on simple and (DLN), how archiving and reuse achievable tools/techniques to build a solid requirements are driving modifications to digital imaging foundation for the capture of its development, and how to use it in the resilient and versatile digital images. We up - context of RTI dated this course from a previously published Top Ten Tips publication several years ago. Intended Audience: There are no prerequisites. These include realistic color management, Anyone from novice to expert is welcome. predictable behavior of branded capture de - vices, and new methodologies for rapid cap - Carla Schroer is a co-founder and director of Cultural ture imaging. Specific and practical exam - Heritage Imaging (CHI; culturalheritageimaging.org), ples of the use of ISO standards and a non-profit corporation that develops and implements institutional guidelines in museum or library new imaging technologies for cultural, historic and environments will be described. The elements artistic heritage, and scientific research. Schroer has of this course can be applied by digital im - been active in the cultural heritage computational pho - age service providers, collection custodians, tography research community since 2002. Schroer and device manufacturers.

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Short Courses At-a-Glance Descriptions for short courses begin on page 3.

Advanced Imaging for Imaging Performance Collection Building and Working with Digital Archiving and Standards Best Practices Content

9:00 AM – 12:00 PM 9:00 AM – 12:00 PM 9:00 AM – 12:00 PM 9:00 AM – 12:00 PM ArchSC01: Computational ArchSC02: Scanner & Camera ArchSC03: Program ArchSC04: Fundamentals Photography Techniques for Imaging Performance: Ten Management for Cultural of Image and Video Cultural Heritage Documenta - Commandments Heritage Professionals: An Compression tion and Archiving: Reflectance Introductory Workshop for Transformation Imaging (RTI) Management of Digitization and Photogrammetry and Curation

1:15 – 3:15 PM 1:15 – 3:15 PM 1:15 – 3:15 PM 1:15 – 3:15 PM ArchSC05: Spectral Imaging: ArchSC06: Scan/Camera Imag. ArchSC07: Digital Collection ArchSC08: Automatic Cropping Spectral Capture and Processing Perf: FADGI Guidelines . . . Development and Deskewing: Theory . . .

3:30 – 5:30 PM 3:30 – 5:30 PM 3:30 – 5:30 PM 3:30 – 5:30 PM ArchSC09: Four-Light Imaging ArchSC10: Intro. to Metamorfoze ArchSC11: Assessing Formats ArchSC12: Curation, Collection, Preservation Guidelines . . . for Preservation and Use of Web Archives

Benefits fidelity issues for the cultural heritage community. He This course enables the attendee to: has worked for a number of large cultural heritage in - • Interpret and comply with customer imag - stitutes in practical implementation of image quality ing requirements. controls and is the prime architect for the Golden - • Establish accountability for imaging per - Thread image quality evaluation tools. He has taught formance problems. short courses for many years and contributes to several • Understand standards to characterize imaging standards activities. scanner and camera performance. Peter Burns is a consultant working in digital • Critically evaluate manufacturers' claims image evaluation, system monitoring, and image pro - of resolution, color errors, and noise. cessing. He has experience in several areas of digital imaging: digital photography, mobile imaging, and Intended Audience: Managers, engineers, and cultural heritage. technicians responsible for evaluating and monitoring scanner and camera performance NEW for 2016 and emerging guidelines. This includes man - ArchSC03: Program Management for Cultural ufacturers, service providers, and content Heritage Professionals: An Introductory Workshop custodians. A working knowledge of digital for Management of Digitization and Curation scanner and camera operation and their 9:00 am – 12:00 pm (3 hours) common technologies will be assumed. Instructor: Michael B. Toth, R.B. Toth Associates

Don Williams is founder of Image Science Associates, This 3-hour course introduces cultural a digital imaging consulting and software group. Their heritage professionals to best practices in work focuses on quantitative performance metrics for program management. It focuses on method - digital capture of digital imaging devices and imaging ologies for managing digital projects that

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create or develop data, integrate new tech - technologies that meet cultural heritage nologies and data, and/or support digital standards for long-term digital data archiving and access. This includes digitiza - preservation. tion and curation projects for collecting, pro - cessing, accessing, archiving, and collabo - Intended Audience: Cultural heritage, digitiza - rating with digital data. tion, and curation personnel responsible for Instruction supports cultural heritage project success will benefit from the basic professionals as they manage successive concepts and best practices of project man - stages of digitization and curation projects agement. This course is equally applicable to from initiation through production and opera - all project team members. There are no pre - tion, especially with changing technologies requisites except a desire to use effective pro - and tighter budget environments. The work - gram management and best practices. Partic - shop utilizes examples and case studies of ipants also develop increased understanding program management techniques and that can help them tap multidisciplinary sup - processes that are applicable to digitization port from the scientific, engineering, and in - and data curation programs of varied cost formation technology communities. This in - and complexity in a range of institutions cludes becoming familiar with the around the globe. vocabularies and standards necessary to ad - This course provides project leaders, man - dress the requirements of broad governmen - agers, and others working or intending to tal and external oversight and reporting. work with cultural heritage digitization and curation projects with an introduction to the Michael B. Toth is president of R.B. Toth Associates resources, tools, and capabilities for effective and honorary research associate at University College program planning, development, and London. With more than 25 years of experience in management. program management, systems integration, and strate - gic planning, Toth has led teams of scientists, scholars, Benefits and technical experts as they help museums, libraries, This course enables the attendee to: archives, and other institutions make more data wide - • Appreciate program management best ly available for all. He has provided program and practices that are appropriate for cultural technical management support for numerous cultural heritage program planning, management, heritage projects ranging from the Vatican Library to and implementation. the Walters Art Museum. Toth studied science at • Gain guidance and techniques for man - Wake Forest University, where he received his degree aging projects and tracking progress, in - in history. cluding developing: • a solid program management and data management plan. NEW for 2016 • an effective structure for task develop - ArchSC04: Fundamentals of Image and Video ment. Compression • an effective program master schedule. 9:00 am – 12:00 pm (3 hours) • Learn about requirements and resources Instructor: Christoph Voges, consultant tracking and reporting. • Learn about the business case for using Image and video compression methods are established program planning and man - highly relevant for digital archiving today. The agement techniques and best practices, application of such techniques can significant - and its return on investment. ly reduce the amount of data to be stored and • Understand cost-effective methods for thus save valuable resources in terms of stor - determining and implementing optimal age space and costs. Accordingly, a thorough

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knowledge of image and video compression methods can be of great value in practice. Short Course Fees Currently, there are a large variety of file If you register: on or before after formats for digital images and videos based March 21 March 21 on different compression methods, which are 2-hour either “lossless” and “lossy”. Lossless com - Member $140 $190 pression methods produce no real difference Non-mem $165 $215 between the original and compressed ver - Student $60 $110 sions. In contrary, in lossy compression a cer - tain error is tolerated to allow higher compres - sion rates. For many compression techniques, 3-hour a number of parameters have to be reason - Member $190 $240 ably chosen. As a consequence, when deal - Non-mem $205 $255 ing with image and video data in practice, Student $85 $135 several decisions regarding file format and Please Note: IS&T reserves the right to cancel compression have to be made. classes in the event of insufficient advance This course provides an in-depth registration. Please indicate your interest early. overview of image and video compression methods frequently used today. Based on a description of the fundamental principles, Christoph Voges has studied electrical engineering at several commonly encountered file formats Technische Universität Braunschweig (Germany) and (e.g., TIFF, JPEG, JPEG2000, MPEG, and University of Southampton (UK). His doctoral thesis has H.264) and appropriate selection of param - been on “Long-term Archiving of Digital Data on Film.” eters (e.g., compression ratios) are dis - Today, he is working as a consultant and as an aca - cussed, including reasonable choices for the demic lecturer; his specific research interest is digital image resolution. Finally, selected open data storage on film, including signal and image pro - source tools suitable for compressing digital cessing, as well as error correction coding. He is also still images and videos are highlighted. a delegate at the ITG Technical Committee 3.4 “Film Technology” and the AWV Working Committee 6.3 Benefits “Data and Storage Management”. This course enables the attendee to: • Understand the principles of modern image and video compression methods NEW for 2016 and file formats. ArchSC05: Spectral Imaging—Spectral Capture • Recognize the difference between lossless and Processing and lossy compression. 1:15 – 3:15 pm (2 hours) • Know advantages and disadvantages of Instructors: Fenella G. France and Meghan Wilson, certain compression techniques. Library of Congress • Figure out which file formats and com - pression methods may be reasonable for This course examines the interaction and links a specific application. between non-invasive analytical scientific • Choose suitable software tools for image techniques and the cultural, societal, and and video compression. provenance information contained within original sources that is not apparent without Intended Audience: All professionals working in undertaking this non-invasive object archeol - digital archiving, imaging science, digital hu - ogy. Course activities include lectures to ex - manities, and related areas who deal with plain non-invasive imaging techniques and image compression in practice. image data processing to better understand

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the tools available for preservation. Students Benefits are introduced to the range of types of spec - This course enables the attendee to gain skills tral imaging and processing techniques that to focus on best practice, standardized pro - can be undertaken to explore unknown infor - cedures and effective digital spectral project mation hidden within the original source planning, including material. • Assessing imaging modalities and pro - In addition to expanding knowledge cessing to best meet the needs of specific about the range of information available research. through spectral imaging, the class provides ● Integrating the priorities of scholars, sci - access to two image processing software pro - entists, and researchers in project design grams and trains participants how to process ● Managing and integrating data and spectral imaging datasets through Principal metadata. Component Analysis and Pseudocolor pro - ● Balancing schedule and cost, as well as cessing to retrieve data from objects such as quality, conservation, and efficiency. palimpsests, watermarks, spectral mapping ● Assessing impact in relation to access for to separate colorants, and spectral curve end users. techniques for characterization of colorants, and tracking changes over time. The course Intended Audience: This course supports a wide also addresses cost-effective methods for im - range of professionals who work on or are plementing and assessing spectral imaging planning to work on collaborative, multidisci - technologies and standardized spectral im - plinary projects that requires spectral imag - aging system processes for capturing, pro - ing. These include preservation professionals cessing, and storing spectral image informa - and scholars; scientists and engineers; digital tion, including data and metadata, in support specialists; database administrators; pro - of scholars and heritage institutions. gram managers and directors; and archivists, Generalized instruction is combined curators, librarians and researchers. with a case study approach that draws from a range of examples representing a wide ge - Fenella France, chief of the Preservation Research and ographic and temporal scope, and includes Testing Division at the Library of Congress, researches the digital preservation of documents, im - spectral imaging techniques and addressing integra - ages, and objects. The approach highlight tion and access between scientific and scholarly data. different stages of projects and the varying An international specialist on environmental deteriora - needs of researchers and users, from historic tion to cultural objects, her focus is connecting mechan - fragile manuscripts, maps, and palimpsests, ical, chemical, and optical properties from the impact to iconic American documents such as the of environment and treatments. Serving on standards drafts of the Gettysburg Address, the 1507 and professional committees for cultural heritage she Waldseemüller Map, and Mayan flasks. maintains collaborations with colleagues from academ - ic, cultural, forensic, and federal institutions. Meghan Wilson is an imaging specialist in the Register for 3 classes Preservation Research and Testing Division at the Li - brary of Congress working on advanced spectral im - and take 10% off the total aging and processing techniques. She has established guidelines and documentation of work processes for equipment and image quality control to assure high course registration fee. quality standards for technical operation of the system. She has worked internationally training in system oper - See registration form for details. ation, data management, and cataloging for efficient collection of data and metadata.

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ArchSC06: Scanner & Camera Imaging Performance: FADGI Imaging Guidelines and Don Williams is founder of Image Science Associates, Implementation a digital imaging consulting and software group. Their 1:15 – 3:15 pm (2 hours) work focuses on quantitative performance metrics for Instructors: Don Williams, Image Science Associ - digital capture of digital imaging devices and imaging ates, and Peter Burns, Burns Digital Imaging fidelity issues for the cultural heritage community. He has worked for a number of large cultural heritage in - This class furthers discussions begun in Arch - stitutes in practical implementation of image quality SC02 on simple and achievable tools/tech- controls and is the prime architect for the Golden - niques to evaluate and control imaging per - Thread image quality evaluation tools. He has taught formance; it may, however, be taken short courses for many years and contributes to sever - independent of that course. Building from our al imaging standards activities. discussions of background and methods in Peter Burns is a consultant working in digital im - ArchSC02, we address how you can achieve age evaluation, system monitoring, and image pro - your goals for meeting FADGI and Metamor - cessing. He has experience in several areas of digital foze guideline requirements. We do this us - imaging: digital photography, mobile imaging, and ing specific and practical examples of the cultural heritage. use of ISO standards and institutional guide - lines in museum or library environments. The focus is on the selection and development of ArchSC07: Digital Collection Development test plans, performance measurements, ac - 1:15 – 3:15 pm (2 hours) ceptance criteria, tests targets, and software. Instructor: John Sarnowski, ResCarta Foundation Suggestions and tools for maintaining good imaging performance are included. This introductory class focuses on the use of open/free software to create, validate, in - Benefits dex, search, display, and maintain a digital This course enables the attendee to: archive of various materials including photo - • Understand and compare imaging stan - graphs, oral histories, newspapers, and dards and guidelines. books. Learn how to take simple digital files • Compare various levels of FADGI and and create a knowledge base of standard - Metamorfoze guidelines. ized archival digital objects, complete with • Identify sources of performance variation Library of Congress metadata. Learn how to in digital image reformatting. build a collection, and host it. Make your full • Introduce imaging quality control proce - text searchable oral histories to FADGI guide - dures into workflows. lines. Capture audio files with Audacity ®, use • Develop test plans, and apply corrective digital cameras and scanners to create full actions for ill-behaved performance. text searchable, harvestable archives with • Use easy and non-disruptive methods to Tomcat tm , ResCarta ® and jOAI. Bring your monitor image quality. laptop for this hands on session. Take the free and open source tools and knowledge with Intended Audience: Managers, engineers, and you to create a growing and sustainable technicians responsible for evaluating and archive. monitoring scanner and camera perform - ance, and emerging guidelines. This includes Benefits manufacturers, service providers, and con - This course enables the attendee to: tent custodians. A working knowledge of dig - • Understand the types of equipment, ital scanner and camera operation and their software and time required to convert common technologies will be assumed. analog objects to digital.

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• Identify the various types of metadata between the subject and the background and how they can be created. (e.g. white paper on a white background). • Understand the difference between a As a logical extension, we discuss various digital file and a digital object. ways to batch manipulate the crop of a set of • Understand the use of OCR/AAT software images. How to produce derivatives with and and its limitations without an Object Level Target or page split • List best practice formats for long term books is also addressed. storage and reuse. Benefits Intended Audience: This workshop is intended to This course enables the attendee to: be relevant to a wide audience, particularly • Distinguish situations where automatic to those cultural heritage professionals tasked cropping and deskewing can be highly with converting analog materials to digital. effective from situations where automatic cropping and deskewing is not currently John Sarnowski has more than 25 years’ experience in possible building digital collections. He was responsible for • Understand how an automatic cropping creating millions of digital objects for learned soci - and deskewing algorithm detects the eties, libraries, and major corporations as the director Region of Interest of Imaging Products at Northern Micrographics. Proj - • Modify capture workflows to facilitate ects included “The Making of America”, JSTOR, and effective automatic cropping and Historic Pittsburgh. He currently is a director of the deskewing ResCarta Foundation. • Identify workarounds for situations that would typically challenge automatic cropping and deskewing tools NEW for 2016 • Leverage automatic cropping and ArchSC08: Automatic Cropping and Deskewing: deskewing to greatly increase total pro - Theory, Use, and Supportive Workflows ductivity 1:15 – 3:15 pm (2 hours) Instructor: Doug Peterson, Cultural Heritage Intended Audience: This course is geared toward those responsible for digitization. It is equal - Manually cropping images is labor intensive ly helpful for those “in the trenches” of digiti - and tedious. Properly implemented, automat - zation and managers thereof. Basic experi - ic cropping and deskewing can drastically ence with digitization workflows is important. reduce the time spent on this undesirable but Basic experience with Capture One Cultural essential task. But automatic cropping tools Heritage 8 is helpful, but not essential. Previ - are not panaceas with humanlike intelli - ous experience with automatic cropping and gence they are just tools with strengths and deskewing workflows is not required the weakn;esses, abilities, and limitations. class begins with the basics before con; tinu - This class covers some of the theory be - ing to advanced topics. hind automatic cropping and discusses sever - al factors that determine the efficacy of an au - Doug Peterson is head product manager at the Digital tomatic cropping solution. We’ll explore a Transitions Division of Cultural Heritage. He has variety of workflows and tools that ameliorate helped many clients implement and refine automatic inherent limitations and challenges of auto - cropping and batch cropping workflows and worked matic cropping and deskewing. For instance, closely with Phase One on their implementation of we’ll discuss how to use a “Temporary Con - AutoCrop in Capture One Cultural Heritage 8. trast Prepass” to ensure accurate automatic cropping when there is limited tonal contrast

10 Archiving 2016

NEW for 2016 Mellon Studio for Scientific Imaging and Archiving of ArchSC09: Four-Light Imaging Cultural Heritage. He has received lifetime achieve - 3:30 – 5:30 pm (2 hours) ment awards from the International Association of Instructor: Roy S. Berns, Munsell Color Science Colour, the Colour Group of Great Britain, and the Laboratory Inter-Society Color Council. He is an IS&T Fellow.

Placing lights above, below, to the left, and to the right of a painting or drawing and im - ArchSC10: Introduction and Explanation of the aging with one light at a time can be used to Metamorfoze Preservation Imaging Guidelines, characterize the object’s diffuse color and version 1.0, 2012 macrostructure (impasto), the latter defined 3:30 – 5:30 pm (2-hours) by surface normal. These color and normal Instructor: Hans van Dormolen, Hans van maps and knowledge of the object’s material Dormolen Imaging & Preservation Imaging properties and gloss are used to render art - work for different lighting geometries using In this course the what, why, and how of the computer graphics software such as Metamorfoze guidelines are explained. Tech - Autodesk Maya with the mental ray renderer. nical criteria and tolerances are also ad - This is a computational approach to lighting dressed in an easy, comprehensible way. where the photographer can accentuate or To use the Metamorfoze guidelines in dig - minimize surface properties without re-shoot - itization projects the entire work flow has to ing, producing images appropriate for repro - be organized according to the specs. Scan - graphics, archiving, and conservation. The ners and cameras have to be tuned accord - system is calibrated using a cue ball, white ing to the specs, technical targets have to be foam core, and a color calibration target. acquired, the daily use of technical targets This technique is described and demonstrat - has to be implemented in the daily use and ed, including computer-graphics rendering. handling by operators and photographers. A quality management team or system has to Benefits be organized to check the digital images on This course enables the attendee to: a regular base. To start working according to • Use surface normal to define macrostruc - the specs requires an investment of time and ture. money, which is rapidly paid back by a ro - • Estimate surface normal using photometric bust, reliable, predictable, and repeatable stereo. production of digitals images. To be able to • Learn about four-light imaging technique make this investment and to deal with unex - to measure diffuse color and surface nor - pected setbacks, broad and deep support of mal maps. management is needed. • Understand the basics of computer graph - ics rendering. Benefits This course enables the attendee to: Intended Audience: Museum, archive, and library • Understand the Metamorfoze Guidelines. studio photographers. Basic understanding • Learn its criteria, tolerances, and techni - of imaging paintings is assumed. cal test charts in an easy comprehensible way. Roy S. Berns is the Richard S. Hunter Professor in col - or science, appearance, and technology within the Intended Audience: Managers, photographers, program of color science at Rochester Institute of Tech - operators and others from archives, libraries nology, where he developed both MS and PhD pro - and museums who are involved in digitiza - grams in color science. He directs the Andrew W. tion projects wishing to learn more about the

11 April 19-22, 2016 • Washington, DC

Metamorfoze Preservation Imaging Guide - by the attendee for additional formats or lines and its work flow. for the criteria that is most important to the attendee’s institution. Hans van Dormolen is the founder of Hans van Dormolen Imaging & Preservation Imaging (HIP). He Intended Audience: Managers, administrators, works as an imaging consultant in the cultural heritage technicians, and others responsible for creat - community and at KB, the National Library of the ing policies, guidelines, or specifications for Netherlands. He is the author of the Metamorfoze file formats for long-term preservation, or that Preservation Imaging Guidelines and author and co- need to make decisions about formats for author of several other Metamorfoze guidelines. Hans digitization projects when the content is in - is a member of ISO TC42 JWG26, CIE Archival Col - tended to be usable long-term. or TC08 and IS&T. He received an IS&T Service Award for his work in objective capture practices for Andrea Goethals is responsible for providing leader - cultural heritage imaging in 2014. ship in the development and operation of Harvard's digital preservation program and for the management and oversight of the Digital Repository Service (DRS), NEW for 2016 Harvard's large scale digital preservation repository. ArchSC11: Assessing Formats for Preservation She leads the National Digital Stewardship Residency 3:30 – 5:30 pm (2 hours) (NDSR) Boston program, participates in the Internation - Instructors: Andrea Goethals and David al Internet Preservation Consortium (IIPC) Preservation Ackerman, Harvard Library Working Group, and is the co-chair of the National Digital Stewardship Alliance (NDSA) Standards and This course provides attendees with an intro - Practices Working Group. duction to evaluating and comparing file for - David Ackerman is the head of media preserva - mats for acceptance or use in preservation tion for the Harvard Library. Prior to that he managed systems or workflows using the process used Audio Preservation Services for the Harvard College by Harvard Library to write policies for which Library. He co-chairs AES SC-07-01, Working Group formats are preferred and accepted in the Li - on Audio Metadata Standards and AES TC-ARDL, brary's digital preservation repository—the Technical Committee on Archives, Digital Libraries and Digital Repository Service (DRS). It introduces Restoration. a format matrix tool used for the assessments, shows how it has been used to make deci - sions about different kinds of formats (video, NEW for 2016 word processing, CAD and video image se - ArchSC12: Bountiful Harvest: Curation, Collection, quence), and leads to an exercise in which and Use of Web Archives all attendees get hands-on experience using 3:30 – 5:30 pm (2 hours) the format matrix tool to assess formats for Instructors: Maria LaCalle and Jefferson Bailey, long-term preservation. Internet Archive

Benefits This course introduces participants to basic This course enables the attendee to: web archiving concepts and challenges. The • Learn about criteria that can be used to focus is on direct hands-on experience creat - assess and compare candidate formats ing a collection of content archived from the for use in long-term preservation systems. web. Using the Archive-It (www.archive- • Learn how to use the Library’s matrix tool it.org) web application, participants select to compare formats for preservation. websites for preservation, which can include • Gain experience using the Library’s for - their own organization’s web presence, so - mat matrix tool so that it can be adapted cial media, digital exhibitions, blogs, news,

12 Archiving 2016

datasets, or other content publicly available Maria LaCalle is web archivist for partner services at on the web. Quality assurance, metadata, Internet Archive. She provides training, support, and and the web archiving lifecycle, including advocacy for web archiving related projects including policy decisions, is addressed. The course work on the Archive-It service. She received an MA in demonstrates ways that researchers can use history and certificate in archival management from web archives, as well as basic methods and NYU and is a certified archivist with the Academy of tools to support data mining and other types Certified Archivists. of analysis. Participants leave the course with Jefferson Bailey is director of web archiving pro- a searchable archive, including the option of grams, managing the Archive-It (IA) service, contract downloading WARC (web archive files) files web archiving services, and research, grant, and ed- for long-term preservation or research ucation programs at Internet Archive. Prior to joining IA, he worked on strategic initiatives, digital preserva- Benefits tion, archives, and digital collections at institutions This course enables the attendee to: such as the Metropolitan New York Library Council, • Define web archiving terms and technolo- Library of Congress, Brooklyn Public Library, and Frick gies and demonstrate the value of web Art Reference Library, and has worked in the archives archiving. at NARA, NASA, and Atlantic Records. He has taught • Appraise, harvest, and curate a collection digital preservation, numerous workshops on data min- of web content for preservation and use. ing web archives, and has an MLIS in archival studies • Solve basic web archiving challenges, in- from University of Pittsburgh. cluding scoping of content to be cap- tured, identifying crawler issues, and quality assurance. • Explain current landscape of web archiv- ing including recent areas of development for capture and playback and emerging community and interoperability models. • Outline tools for research use of web archives, including data mining and datasets.

Intended Audience: Professionals responsible for digital library services, digital archives, col-

lection management, and digital curation. . s e g

No prerequisite knowledge of or experience o V h p

with web archives, coding, web protocols, o t s i r the WARC format, or data mining is neces- h C : o t

sary. Time is allotted to additional web o h archiving tools, emerging technologies, and P The Interactive Paper Session always generates tools supporting research and analysis. much discussion and interest.

Participate in the Archiving 2016 Exhibition Wednesday April 20 and Thursday April 21 Tabletop exhibition featuring digital archiving related products and services. For details, contact Donna Smith • [email protected]; +1-703-642-9090 x107

13 April 19-22, 2016 • Washington, DC

Technical Program*

Wednesday April 20, 2016 Scalable Processing and Search in Package- based Repositories, Sven Schlarb, Rainer 9:00 – 10:00 AM Schmidt, Mihai Bartha, and Roman Karl, WELCOME AND KEYNOTE Austrian Institute of Technology (Austria) Session Chairs: Kari Smith, Massachusetts Institute of Defense Visual Information Storage Technology Libraries (USA); Ulla Bøgvad Kejser, The Challenges and Lessons Learned, Paul G. Royal Library (Denmark); and Peter Burns, Burns Robinson, Defense Media Activity (USA) Digital Imaging (USA) Spectral Imaging of Manuscripts: Recovery of 3:10 AM – 3:40 PM the Past and Preservation for the Future, INTERACTIVE PAPER PREVIEWS Roger Easton, Rochester Institute of Technology, Session Chair: Kari Smith, Massachusetts Institute of and Keith Knox, consultant (USA) Technology Libraries (USA) Going Digital at the Wellcome Library: The 10:00 AM – 12:10 PM Evolution of Digital Imaging and Innovation, ADVANCED IMAGING Danae M. Dracht, Wayne State University TECHNIQUES (USA) Session Chair: Peter Burns, Burns Digital Imaging (USA) Fulfill your Digital Preservation Goals with a Spectral Imaging for Preservation Documenta - Budget Studio, Yongli Zhou, Colorado State tion, Fenella G. France, Library of Congress (USA) University Libraries (USA) Burned Record Imaging at NARA, Noah W. Improving Brand Reputation of the DoD VI Durham, The National Archives Records Archive, Lisa Wesneski, Defense Imagery Administration (USA) Management Operations Center (USA) Digital Materiality with Enhanced Reflection A Hybrid Technique of Image Denoising Transformation Imaging, Peter Fornaro, Using the Curvelet Transform based Denois - Andrea Bianco, and Lukas Rosenthaler, ing Method and Two-Stage Image Denoising Universität Basel (Switzerland) by PCA with Local Pixel Grouping, Mourad Post Processing of Reflectance Transform Talbi and Adnen Cherif, Sciences Faculty of Imaging for Isolation of Surface Impressions, Tunis (Tunisia) Kurt Heumiller, Jens Stenger, Soyeon Choi, and Visual Information (VI) Ingest Process Chelsea Graham, Yale University (USA) Improvement, Barbara Burfeind, Defense Media Activity (USA) 12:10 – 12:30 PM Lifecycle Management Workflow, April EXHIBITOR PROFILES Alexander, Defense Imagery Management Operations Center (USA) 12:30 – 2:00 PM Data Reader for Write Once, Read Forever TOPICAL DISCUSSION BROWN (WORF) Interference Spectra Media, Richard J BAG LUNCH Solomon 1, 2 , Eric Rosenthal 1, 3 , Clark Johnson 1, Optional networking event. Lunch not Jonathan M. Smith 2, Melitte Buchman 3, provided. William Butterfield 1, and Donald Carlin 1; 1Creative Technology LLC; 2University of 2:00 – 3:10 PM Pennsylvania; and 3New York University (USA) ASSET MANAGEMENT Session Chair: Christoph Voges, consultant (Germany) *Program subject to change; see final program for exact Summarization and Classification of times and paper order. Note that focal talks are 30 min - CNN.com Articles Using the TFxIDF Family of utes in length; traditional papers, 20 minutes; and interac - tive previews 2 minutes, with discussions held during the Metrics (Focal), Marie Vans and Steven Simske, Wednesday afternoon and Friday morning coffee breaks. HP Inc. (USA) 14 Archiving 2016

Towards Building a Framework for Access at Thursday April 21, 2016 the National Archives of Zimbabwe, Forget Chaterera 1,2 and Patrick Ngulube 1; 1University 9:00 – 10:40 AM of South Africa and 2National University of WELCOME, SOCIETY AWARDS, Science and Technology (Zimbabwe) AND IMAGING STANDARDS AND Securing Defense Visual Information in a QUALITY ASSURANCE Commercial Environment, Juan Vargas-Matos Session Chair: Roy Berns, Munsell Color Science and Paul G. Robinson, Defense Media Activity Lab/RIT (USA) (USA) Recent Activities of the FADGI Still Image Archiving Email: Relevant Business Models Working Group (Focal), Thomas Rieger, Library and Drivers of Preservation, Kristen C. of Congress (USA) Ratanatharathorn, The Andrew W. Mellon Going Mobile: Evaluating Smartphone Foundation (USA) Capture for Collections, Peter D. Burns, Burns Digitally Archiving History: A Game Plan for Digital Imaging, and Don Williams, Image Large, Unruly Archival Collections with Limit - Science Associates (USA) ed Staffing, Virginia A. Dressler, Kent State Quality Assurance in Mass Digitization University (USA) Projects, Martina Hoffmann, National Library Digitizing 16mm, 35/32mm, and 35mm of the Netherlands (the Netherlands) Optical and Magnetic Sound Elements, Chris Image Quality Analysis based on ISO 19264, Reynolds, Deluxe Media, Inc. (USA) Dietmar Wueller, Image Engineering GmbH & Co. KG (Germany), and Ulla Bøgvad Kejser, 3:40 – 4:40 PM The Royal Library (Denmark) INTERACTIVE PAPER SESSION I AND EXHIBITION 11:20 AM – 12:40 PM IMAGING STRATEGIES AND 4:40 – 5:40 PM WORKFLOWS PRESERVATION FORMATS AND Session Chair: Don Williams, Image Science FRAMEWORKS Associates (USA) Session Chair: David Walls, US Government Printing Evolution of the Historical Moving Pictures Office (USA) Digitization Program at the National Library Long-Term Preservation and Archival File of Medicine, John Rees, John Doyle, and Doron Formats: Concepts and Solutions, Peter Shalvi, National Library of Medicine (USA) Fornaro and Lukas Rosenthaler, Universität Copies and Originals, Preservation and Basel (Switzerland) Access: The Art of Balance in a Digital World, On the Potential of Film as a Digital Storage Niels Bønding, Gry Vindelev Elstrøm, and Medium, Christoph Voges, consultant Karen Williams, State and University Library (Germany) (Denmark) The International Image Interoperability Digitisation at Scale: Automating the Mass Framework and its Implication to Preserva - Acquisition of Digitised Content, Dave tion, Lukas Rosenthaler and Peter Fornaro, Thompson, Wellcome Library (UK) Universität Basel (Switzerland) Developing an Open-Source Workflow Tracking Tool for Digitization Projects, Steffen 6:00 – 9:00 PM Hankiewicz, intranda GmbH (Germany) CONFERENCE RECEPTION Hill Country Barbeque, 410 7th St NW

15 April 19-22, 2016 • Washington, DC

2:00 – 3:10 PM Digital Preservation of Audiovisual Materials: DISSEMINATION AND USE The State of the Art, Edward M. Corrado, Session Chair: Marie Vans, HP Inc. (USA) University of Alabama Libraries, and Heather Unlocking the Archives of Displacement and Lea Moulaison, iSchool at the University of Trauma: Revealing Hidden Patterns and Ex - Missouri (USA) ploring New Modes of Public Access through US Department of Defense Metadata Stan - Innovative Partnerships and Infrastructure dards for Visual Information, Julia Hickey, (Focal), Diane M. Travis, Magdalena Rojas, Defense Media Activity, and Thomas M. Ruyle, Anuj Nimkar, Gregory Jansen, Nicholas Defense Imagery Management Operations Diakopoulos, and Richard Marciano, University Center (USA) of Maryland (USA) Unlocking the Archive: The Defense Depart - 12:20 – 2:00 PM ment’s Plan to Make Unreleased Audiovisual TOPICAL DISCUSSION BROWN Records Public, E. Thomas, Defense Media BAG LUNCH Activity (USA) Optional networking event. Lunch not Examining the Reuse of Digital Video as provided. Qualitative Data, Rebecca D. Frank, Kara Suzuka, and Elizabeth Yakel, University of 2:00 – 3:10 PM Michigan (USA) IMAGE COLOR SCIENCE AND ANALYSIS TOOLS 3:30 – 6:00 PM Session Chair: Dietmar Wüller, Image Engineering BEHIND-THE-SCENES TOURS GmbH & Co. KG (Germany) see page 17 for details Image Color Correction, Validation, and Test - ing (Focal), Don Williams, Image Science Associates, and Peter D. Burns, Burns Digital Friday April 22, 2016 Imaging (USA) Modification of CIEDE2000 for Assessing 9:00 – 10:00 AM Color Quality of Image Archives, Roy S. WELCOME AND KEYNOTE Berns, Rochester Institute of Technology (USA) Session Chair: Kari Smith, Massachusetts Institute of OpenDICE Software, Lei He, Library of Technology Libraries (USA) Congress (USA) Implementing Practices that Lead to Use or Reuse of your Collections, Emily Gore, Digital 3:10 – 4:10 PM Public Library of America (USA) EVALUATION AND IMPACT Session Chair: Lukas Rosenthaler, Universität Basel 10:00 AM – 12:20 PM (Switzerland) METADATA STANDARDS AND The Role of Digital Collections in Scholarly IMPLEMENTATION* Communications, Harriett Green, University of Session Chair: Kari Smith, Massachusetts Institute of Illinois at Urbana-Champaign, and Angela Technology Libraries, and Anne Mason, Library of Courtney, Indiana University Bloomington (USA) Congress (USA) Making Digitization Count: Assessing the Val - Implementing PREMIS Version 3, Rebecca ue and Impact of Cultural Heritage Digitiza - Guenther, Rebecca Guenther Consulting (USA) tion (Focal), Emily Frieda Shaw, The Ohio State Embedding Metadata in Large-Scale Legacy University Libraries (USA) Digital Audio Collections, Ryan Edge, Michigan State University Library (USA) 4:10 – 5:00 PM

* Another opportunity to talk with Interactive Paper presen - CLOSING REMARKS, BEST ters will occur during the middle of this session during the INTERACTIVE PAPER AWARD, coffee break. AND FAREWELL RECEPTION 16 Archiving 2016

Behind-the-Scenes Tours

All tours will take place Thursday afternoon. number of records digitized, thereby strength - They are reserved on a first-come, first-served ening the ‘core’ systems that serve as basis. Tour registration information and logis - platforms for all online access, specifically tic details will be sent immediately following NARA’s Online Public Access catalog and the early registration deadline to anyone reg - Archives.gov. istered by that date. Those who register after The Innovation Hub is currently focused the early registration deadline will receive the on a Citizen Scanning initiative whereby tour registration form at that time. Please note researchers use the Hub’s scanners for free in that all tours will be within walking or public exchange for helping scan files that are transport distance; attendees are responsible uploaded to the NARA catalog. In exchange, for getting themselves to the tour site. the researchers may take a copy of the scan with them. In the first three months the Hub was open, citizens scanned 15,000 pages from LIBRARY OF CONGRESS nearly 1,000 files to be added to the catalog. Preservation Directorate The processes and equipment used to Learn about several key digitization activities support these efforts, as well as workflow of the Preservation Directorate at the Library and supervision, will be discussed. In addi - of Congress, including digital imaging, con - tion, tour participants will learn more about servation for digitization projects, and digital other Hub initiatives, such as “transcribe-a- reformatting. Preservation scientists, conser - thons”, Wikipedia “edit-a-thons”, and other vators, and other specialists present work - events and meetings that work with NARA flows involved in these efforts, as well as on - records in innovative ways. going science research in non-invasive material analysis, management and access of data, and the preservation challenges of NATIONAL GALLERY OF ART optical media and magnetic tape. A Division of Imaging & Visual Services (DIVS) collaborative project in non-invasive imaging images.nga.gov that enables playback of a digital image of DIVS welcomes attendees to its painting stu - grooved media, rather than playback of the dio A. Alan Newman will begin a guided grooved media itself by traditional stylus, is tour through the imaging facilities and then also included. be joined by Greg Williams and Lorene Emerson in the painting studio. There they re - view the workflow for shooting paintings with NATIONAL ARCHIVES AND ultra-resolution using a computer controlled RECORDS ADMINISTRATION SmartDrive easel to position elements of the (NARA) painting for photography. A discussion fol - NARA Innovation Hub lows of the Gallery’s open access image www.archives.gov/innovation-hub/ repository NGA Images at images.nga.gov This tour takes participants through NARA’s and demonstrates some its functionality. Innovation Hub, a unique and collaborative Materials on the SmartDrive easel l, and space where individuals work on innovative our guide to reproduction for our files, will be projects and programs to move the agency made available. A brief overview of the next forward. The Hub was designed to encour - enterprise Digital Asset Management system age staff and researchers to become more (eDAM) is included as well as a brief tour of involved with NARA’s mission to increase the the imaging facilities.

17 April 19-22, 2016 • Washington, DC Archiving 2016 Conference Registration Prefix______Given name ______Family name______Title/Position ______Company ______Street Address ______City ______State/Province______Country ______Postal Code______Telephone ______Fax ______Email ______

Not a member? Join today and calculate all fees based on member rates. See also below for registration/membership all-in-one options. Membership expires 12/31/16; for students, 9/30/16 . ___ $95 US address ___$105 overseas address ___$25 Student Total $ _____ Select one complimentary online journal: K J.Imaging Sci & Tech K J.Electronic Imaging

Conference registration includes admission to all technical sessions, coffee breaks, Meet & Greet and Conference Reception, and conference proceedings . Separate registration fees are required for short courses. 1. Please check all that apply. I am a K speaker K session chair K committee member K IS&T member K only taking short courses K short course instructor

2. Conference Registration Register early and save $100. After March 21, 2016 add $100 to conference registration fee noted below. To better serve you, IS&T is offering conference registration options that include membership (new or renewal). Register for just the conference or register for the conference plus IS&T membership, with your choice of an online subscription to the Journal of Imaging Science and Technology (JIST) or Journal of Electronic Imaging (JEI).

on or before after March 21 March 21 TOTAL ___ Member $510 $610 $ ______Non-member $610 $710 $ ______Registration with membership + JIST Membership begins within 2 weeks of registration and expires 12/31/16. $610 $710 $ ______Registration with membership + JEI Membership begins within 2 weeks of registration and expires 12/31/16. $610 $710 $ ______Student Member (ID required) $170 $270 $ ______Student registration + membership with JIST (ID required) Membership begins within 2 weeks of registration and expires 09/30/16. $200 $300 $ ______Student registration + membership with JEI (ID required) Membership begins within 2 weeks of registration and expires 09/30/16. $200 $300 $ ______Student Non-member (ID required) $350 $450 $ ______One-day: Ì Wed Ì Thurs Ì Fri $295 $295 $ ______Short course only (check and proceed to short course selection area) subtotal $ _____ 18 Archiving 2016

3. 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 or view - ing on your computer. Instructors without e-notes will provide hardcopies in class.

on or before after March 21 March 21 TOTAL

3-hour Member (per class; select below) $190 $240 $ _____ 3-hour Non-member (per class; select below) $205 $255 $ _____ 3-hour Student (per class; select below) $85 $135 $ _____ Check all that apply K Arch SC01 K Arch SC02 K Arch SC03 K Arch SC04

2-hour Member (per class; select below) $140 $190 $ _____ 2-hour Non-member (per class; select below) $165 $215 $ _____ 2-hour Student (per class; select below) $60 $110 $ _____ Check all that apply K Arch SC05 K Arch SC06 K Arch SC07 K Arch SC08 K Arch SC09 K Arch SC10 K Arch SC11 K Arch SC12 OR Take ANY three classes and receive 10% off the total price (enter three, fill in member or non-member fee next to each, add, and multiply by .90 to get your price, representing 10% savings; add additional lines if needed; students may not take advantage of this offer) SC____ $ _____ + SC____ $ _____ + SC____ $ _____ = $______x .90 = $ _____

4. Extras ___ Extra copy of conference proceedings Note: One copy comes with conference registration . $100 $ ______Guest ticket for Meet and Greet and Conference Reception $85 $ _____ Name/Affiliation of Guest for badge: ______

subtotal from previous page $ _____ Wire transfer fee ($25 if applicable) $ _____ GRAND TOTAL $ _____

Payment Method: K AmEx K MasterCard K VISA K Discover K Wire Transfer K Check Card#: ______Exp. Date: ______Name as it appears on card: ______Authorization Signature: ______

Return this form with signed credit card authorization to IS&T, 7003 Kilworth Lane, Springfield, VA 22151 or fax to 703/642-9094. 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 until April 12, 2016. After that date, the cancellation fee is 50% of the total plus $75. No refunds will be given after May 3, 2016. All requests for refund must be made in writing.

19 Archiving 2016 NON-PROFIT ORG. Society for Imaging Science and Technology US POSTAGE PAID 7003 Kilworth Lane Merrifield, VA IS&T Springfield, VA 22151 USA Permit No. 2333 703/642-9090; 703/642-9094 (fax) imaging.org

y! unit omm e c up” lin gro on ing ing chiv hiv t ar Org Arc “is& ging he for Ima f t ups : @ rt o gro itter pa dIn n Tw me inke T o co ch L IS& Be ear ow S Foll