Photos for microfilming book needed

I am working under contract with the ARL to write a second edition of
Nancy Gwinn's  _Preservation Microfilming: A Guide for Librarians and
Archivists_.  ALA has agreed to publish this 2nd ed. (as they did the
1st), and it is due out in 1995, with the writing to be finished in the
next month.

Now it is time to think about photos for this 2nd edition, and I am
asking DistList subscribers to help on this.  Those of you familiar with
the 1st edition will note that most of the photos came from just a
couple of sources.  I would like to offer a bit more variety in this new
edition.  I urge you to consider submitting photos for use in the 2nd
edition.  In the *terribly* long text below, I provide general
guidelines for photo submissions, then a quite specific desiderata list
for photos organized according to the book chapters, and finally a list
of some graphics/figures that we could use.

I am quite aware that this book has assumed a place in the core canon of
preservation literature, and I hope that some of you might actually get
excited (even at this season with so many other distractions) by the
idea of contributing to the new edition.  Therefore, the photo wish-list
is pretty flexible, so that you might either submit existing photos or
actually take photos designed according to our needs.  At the end of the
file, there is a list of a few figures that we also need; if you have
internal documents that might be used or adapted, I would appreciate
receiving copies of those.

To provide maximum latitude, I have identified a very large number of
photographs that could be used, but the list will be winnowed down
(depending on what we receive) to under 40 photos in the published
edition.

Please send photos directly to me:

    Lisa L. Fox
    840 Rosedale Avenue
    Atlanta, GA  30312-3626

To be assured consideration, they should reach me by December 21, 1994.

General Guidelines

    *   only black and white photographs can be used

    *   need good tonal contrast; you might try taking each shot at a
        couple of different exposures, and we will select the ones that
        will reproduce best

    *   try to have a mix of men and women, young and old, ethnicity,
        etc.

    *   of those items with text visible, we hope to have some
        non-English language materials

    *   all photographs will be credited to the institution/organization
        or photographer

    *   provide label/credit information on a post-it note attached to
        the back of the print, so that I will (a) know how to use it and
        (b) be able to credit the photographer/institution

    *   also on the back of the photo, indicate which Chapter and image
        number (from the following list) the photo might fit

Introduction

a.  Photo like the one on page xx, but updated to include the key
    resources now, e.g., ANSI IT9.1, 9.2, and MS23, the two RLG manuals,
    AACR2, etc.

b.  A scanning station

c.  Person at a microfilm reader using a text. Caption will note that
    these resources are critical for future research and will highlight
    the need for good quality in the film to overcome/reduce user
    resistance.

Chapter 1: Overview of Administrative Decisions

a.  A lovely but deteriorated (brittle, broken pages in gutter, edges
    breaking, etc.) text, either book or manuscript, preferably the sort
    of item that readers might recognize (i.e., a well known title or
    document, manuscript from a well known person, etc.) , illustrating
    something that might need to be filmed particularly to protect the
    original

b.  Meeting of a group of library/archives staff. Caption will note the
    importance of involving all affected units in planning a
    microfilming project.

c.  Broad overview shot of a microfilming unit in a library or archives

d.  The various microformats: 105mm roll microfilm on reel, 35mm roll
    microfilm with acid-free paper/string tie, 16mm roll microfilm,
    single-exposure microfiche for cartographic materials, standard
    98-frame 105mm microfiche, jacketed microfilm. May retain the photo
    on page 6, but I would prefer to have it focus more closely on (and
    better show) the film media, without the boxes at the bottom.

e.  Photo in the stacks showing a range of books that could require
    preservation attention including filming

f.  Work area set up for collation and preparation, preferably with a
    person working on a volume or folder. The photo on page 16 may be
    used, but I would prefer one that better illustrates a workstation
    set up for efficiency (e.g., with flags, etc. positioned nearby and
    perhaps an irregularities target or instruction sheet on the work
    surface.  (Besides, I hate having that coffee cup in the photo.)

g.  A photo of people meeting to discuss a cooperative filming project.
    Among other options, this could be a photo from one of the RLG, CIC,
    or SOLINET project managers meetings, or maybe from the meetings NEH
    has been holding in November/December.

Chapter 2: Selection

a.  Two people (identified as a selector/curator or faculty member and
    preservation officer or filming project manager) standing in front
    of a range of books that have been pulled for potential inclusion in
    a filming project. Perhaps one of them could be holding the book and
    they could be supposedly discussing whether or not it is an
    appropriate candidate.

b.  Person in the stacks doing a condition survey

c.  Bound volume with a binding so tight it could require disbinding

d.  Volume (maybe even a scrapbook) open to a page with one or more
    photographs. Caption would point out that items with photographs may
    require use of continuous tone filming and/or special handling.

e.  Group of publications laid out on a table, to include the various
    scholarly statements that have been developed under the Commission
    on Preservation and Access, such as those of the MLA, jewelry
    people, historians, etc.

f.  A group of obviously brittle archival materials, newspapers,
    letterpress books, obviously fading mimeograph/thermofax, etc.

g.  A book, newspaper, or archival item so brittle that it will
    obviously crumble in the filming process

h.  Something that would qualify as an "artist's book"

i.  Individual shots of items that would pose a problem in filming --
    e.g., brittle book or newspaper so badly discolored that there is
    little contrast between text and paper, manuscript with advanced
    iron gall ink deterioration (requiring use of a black background so
    letters are discernible), etc.

j.  Manuscript with high intrinsic/artifactual value--preferably an item
    that would be truly compelling, whose author and/or recipient as
    well as topic would be well known to most readers k.person at a
    terminal doing online replacement searching

l.  Person at a work station doing replacement searching in hard-copy
    source(s)

m.  Set-up shot: a reel of microfilm, a group of illustrations (having
    been removed from a volume), and an alkaline envelope or other
    enclosure in which those illustrations will be placed.  Caption will
    explain that if you have color illustrations or others that don't
    film well, you may retain them in hard copy form.

Chapter 3: Production Planning & Preparation

a.  Photographs of the various ways of dealing with tight bindings: a
    volume being guillotined (to replace the photo on page 42), complete
    disbinding, removing covers, dividing the volume into smaller
    sections, cutting selected sewing threads

b.  A client meeting with filming agency staff during a site visit,
    perhaps grouped around a camera, in the inspection area, etc.
    c.overview photo of a filming area, to fill the same function as the
    photo on page 152, but that one is not very useful since it focuses
    more on the partitions than on the work areas

d.  Overview photo of a technical inspection station, with densitometer,
    microscope, light box and rewinds, loupe (close-up photos of these
    may be used in Chapter 4)

e.  Photo of the filming sample prepared for shipment to prospective
    service bureaus?  Not sure if this is feasible, for it needs to
    support some caption regarding the importance of preparing a truly
    representative sample, and I don't know how much a photograph can
    convey along those lines.

f.  Person using a barcode reader to track items going through the
    filming process

g.  Person collating a volume with non-Arabic pagination.  This will
    need to be a close-up shot clearly showing the page(s).

h.  Large item or volume with large fold-outs that may require
    sectionalized filming

i.  Photographs of flattening procedures.  The 1st edition included
    (pages 74 and 75) ironing pages and misting. Ironing will not be
    illustrated in the new edition and I would prefer not to illustrate
    misting.  It would be appropriate to show small scale humidification
    (as outlined in the Ritzenthaler manual) or the kind of large scale
    humidification NARA has done for tri-folded records.

j.  Grouping loose newspaper clippings on a "carrier sheet" (along the
    lines discussed on page 76 of the 1st edition)

k.  Open scrapbook showing some of the filming challenges these might
    present: e.g., overlapping newspaper clippings, layers of
    photographs, multicolored items, multipaged pamphlets, etc.

l.  Staff member preparing targets.  Perhaps show the person working at
    the terminal, with an eye-legible target coming out of the printer.
    I am inclined not to re-use the photos on page 18, as both are now
    outdated.

Chapter 4: Microfilming Practices & Standards

a.  Key microfilming standards, specs, guidelines laid out on a table so
    you can see most if not all their covers. Include MS23, IT9.1, the
    two RLG manuals, etc.

b.  Step-and-repeat camera--if possible, making it clear how sheets are
    automatically fed through.

c.  MRD2--perhaps one with and one without a book cradle

d.  Close-up of the voltage meter on the MRD2

e.  Hermann & Kraemer camera, somehow showing how it is attached to the
    PC as a "driver"--perhaps one with and one without a book cradle

        Note: The camera photographs should have people in them, but
        focus on the camera itself, and there should be materials on the
        copyboard or cradle as if the camera were actually in use. The
        area around the camera should be clean and uncluttered.

f.  Microfilm jacket, close-up. This may not capture well on film, in
    which case it may be preferable to provide a diagram of one.

g.  Two people at a planetary camera, as if one were training the other

h.  Camera operator carefully turning the pages of a brittle book (or
    bound newspaper), to replace the photograph on page 98 that does not
    have good contrast and detail

i.  Close view of a book on a book cradle. May re-use the one on page
    107.

j.  Frame counter in use

k.  Deep tank processor, with the tank covers off so one can readily see
    how the film passes through each tank, and showing film in the
    drying chamber. The one on page 109 is not good, because it only
    shows the drying chamber.

l.  Tabletop processor. We can reuse the one on page 109, if it still
    exists, unless we can get another (for some reason better) one.

m.  Master negative being inspected with a loupe over a light box,
    replacing the photo on page 128, which doesn't show the rewinds and
    doesn't have enough tonal contrast for the light box to be visible

n.  Ultrasonic splicer

o.  Scientific microscope and stand microscope

p.  Transmission densitometer

q.  Inspection station, like the photo on page 111, but less cluttered
    and with a better (closer?) view of the set-up

r.  Close-up of a microfilm reader showing the glass plates positioned
    so they do not risk abrading the film during inspection

s.  Person using a microfilm reader for bibliographic inspection,
    clearly showing the image being displayed. The photo on page 19
    could suffice for this, as it does have the kind of close-up detail
    I want, but I would prefer a less dark/murky image.

t.  Microfilm storage vault. It is possible to retain the one on page
    121, but it does not give a very good overall view of the vault. It
    might be good to have two photos, one of the sort of vault at NUS,
    and another of a small institutional vault for print master storage.
    u.a photograph (of the sort I seem to recall seeing from NUS or
    similar companies) showing the corridors/hallways with little golf
    carts running around

v.  Outdoor shot of a purported "archival" storage facility located
    right by a busy expressway? The text talks about what a challenge
    this can be for providing decent air quality. I have in mind a
    photograph that would show the busy expressway (preferably filled
    with cars at rush hour) and the storage company right over, under,
    or beside it.

w.  Various microfilm boxes, combination of plastic and paper x. various
    microfilm reels, combination of metal and plastic, showing good and
    bad designs

y.  Various fiche envelopes, preferable showing the position of the
    seams, to accompany the text that talks about the dangers of
    adhesive and seams

Chapter 5: Bibliographic Control

a.  User searching an OPAC for a title that may exist in microform

b.  Hard-copy version of the multiple volumes of NRMM, alongside an RLIN
    or OCLC terminal where it is accessible online. Caption will say
    something about the enhancements of searching tools we now have.

c.  Set-up shot showing the key tools for bib control, e.g., AACR2, the
    OCLC and RLIN input guides, Henson's AMC guide

d.  Cataloger's workstation with a book truck of microfilm to be
    cataloged

Chapter 6: Cost Controls

a.  Set-up shot showing NEH and NHPRC guidelines

Figures, Tables, and Other Illustrative Materials

a.  Preservation decision flow chart (to replace Figure 2 on page 39).
    It may be possible simply to revise Wes's chart, but I would like to
    see other institutions' and organizations' materials.

b.  Search form for monographs (to replace Figure 3 on pages 42-43)

c.  Search form for serials (to replace Figure 4 on pages 44-45)

d.  Screen printout of an internal tracking program like the University
    of Florida's "FILMLOG"

e.  Filming Agent Quality Control Report Form (as in Figure 17, page
    113), perhaps using the RLG model

f.  Library Quality Control Report Form (as in Figure 18, page 129),
    perhaps using the RLG model

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                  Conservation DistList Instance 8:44
                Distributed: Thursday, December 8, 1994
                        Message Id: cdl-8-44-008
                                  ***