Report

Modified: February 14, 2026 7:58 PM Created: September 17, 2025 3:27 PM Master Type: Notes Hide: No Starred: No Status: Unassigned

Rose reviews the contents of each binder, flags specific images for exhibition/the catalogue, then hands the binder to me for digitization.

I organize each binder to track what has been imaged. I apply numbered page tabs to each plastic sleeve and note the contents (negative, print, glass plate, etc.), image size (8x10, 5x7, etc.), and whether Rose flagged it for exhibition. This prevents confusion about image locations when removing multiple items. I track progress in a spreadsheet organized by binder, flagged/unflagged status, and current phase (scanning, processing, or uploading), with notes on completed objects (e.g., all 8x10 prints in one binder or only flagged 5x7 negatives in another).

To minimize dust, debris, lint, hair, and flaking from deteriorating photographs in the scanned images, I clean the copy stand/light panel base daily. I also clean the front and back of the platens used to keep photographs flat as needed, sometimes between individual photographs. Ideally, several photographs can be imaged before the platen requires cleaning. This cleaning represents the slowest part of the scanning process—a bottleneck. The camera lens is also cleaned when necessary.

I adjust the camera height on the copy stand based on the photograph’s dimensions. I group photographs of similar dimensions to speed up scanning, typically pulling out 10-30 images at a time (depending on available space). In my notes for each binder, I place one checkmark when an image is removed for imaging and a second when it’s returned to its original place.

I blow dust off each image before scanning.

Each object is moved to the copy stand for imaging. For prints, I place a white paper backdrop and set the two LED lamps attached to the copy stand to full brightness. Often, I place an Optium (acrylic) platen over the object to prevent edge curling. If there’s writing or a date on the back of the print, I also take a reference image. For negatives, I use the light panel instead of the copy stand base. I place non-reflective acrylic between the light panel and negatives to prevent “newton rings” that can appear when negatives contact glass/acrylic surfaces. This acrylic is cleaned separately from the light panel.

I image both front and back of negatives. Acetate negatives often require a platen if they’ve begun to warp or curl. Without a platen, the negative may not lie flat against the light panel/acrylic, resulting in blurry areas where contact isn’t maintained. Glass plate negatives don’t require a platen.

I image each object using Capture One software on a MacBook Pro connected via USB-C to a Sony a7r mirrorless camera on the copy stand. Once the object is positioned, I use Capture One’s grid overlay to ensure proper alignment. I make necessary camera adjustments based on the object type and lighting needs (especially for particularly dark or washed-out negatives). I’ve created preset adjustments that only take seconds to apply.

I capture the image by clicking a camera button in Capture One. Processing time varies—usually just seconds, but occasionally 4-5 times longer if the system/software slows down. If images consistently process too slowly, I restart the camera.

After capturing the image, I remove the platen (if used) and turn the object over if needed. I replace the platen and take a second shot. Some objects require additional steps, such as photographing individual pages of booklets or carefully positioning stitched-together film strips to capture each image.

After fully imaging an object, I return it to its binder. I clean surfaces if necessary before placing the next object on the copy stand.

As Rose needs completed scans for review or sharing, I process and upload the images. I review images in Capture One (typically taking moments, longer for objects with many associated images like film strips). I export selected images using predetermined settings (1200ppi Adobe Photoshop PSD files) to designated folders. Exporting can take 5-30 minutes depending on the number of images.

After exporting to PSD, I bulk rename files according to a predetermined schema and process them in Photoshop. Images must be saved as both TIFF and JPG files. For negatives, I save copies of both the negative itself (front and back) and the positives created from it. I’ve created several Photoshop automation functions after initially doing this process manually. Negatives convert to positives at the push of a button, after which I manually adjust brightness and contrast as needed. Saving these large files takes several minutes per image, but I can work on other images while files save. Processing speed depends on the computer’s power and the hard drive.

I manually crop excess background/borders for each image, as this can’t be accurately automated. After cropping and creating positive images from negatives, another automated workflow creates TIFF files of both negatives and positives. This process takes 1-2 minutes per image but runs in the background or overnight. TIFF files will eventually be stored in DAMS software and are automatically backed up to Google Drive, giving Rose access to high-quality images without the large PSD file sizes. For easier browsing and sharing, I convert TIFFs to JPGs using Terminal software and a command line that processes all TIFFs in a folder.

I sort all PSDs, TIFFs, and JPGs into separate folders for each binder and upload JPGs to Airtable, an online database that allows extensive filtering and sorting. Airtable enables bulk uploading—I create a new database record for each photograph and upload all associated scans to that record. Uploading 2-4 JPGs typically takes 1-2 minutes per record, but I continue uploading subsequent records while earlier uploads complete. In Airtable, I group records by binder and manually arrange objects in their original binder order. I note which images Rose flagged for exhibition and, time permitting, fully label and categorize records. When a DAMS solution is selected for the Hooks collection, it will replace Airtable.

After imaging, processing, and uploading every object in a binder, I review the binder one final time, comparing physical items to uploaded images to ensure nothing was missed. I then mark the binder as complete and return it to Hooks Storage.

Rose reviews the contents of each binder, and will flag specific images for exhibition/the catalogue, then hands the binder over to me for “scanning.”

I organize the binder to facilitate keeping track of what has been imaged. Numbered page tabs are applied to each plastic sleeve in a binder, and I will note the contents of each sleeve (negative, print, glass plate, etc.) the size of the image (8x10, 5x7, and so on), and if it’s been flagged by Rose for exhibition. Otherwise it would be difficult to track where images were located within a binder without only ever removing them one by one. Progress is further noted in a spreadsheet broken down by binder, flagged and unflagged objects, and current status either scanning, processing, or uploading, with additional notation for which objects in each binder have been complete (e.g. all 8x10 prints in one binder, or only flagged 5x7 negatives in a different binder.)

To minimize as best possible the dust, debris, lint, hair, and flaking from deteriorating photographs that are captured in the scanned images, I clean and wipe down the base of the copy stand/light panel at least once per day, and clean and wipe down the front and back of the platen(s) used to keep photographs flat and in place as often as necessary, including between individual photographs. Ideally a few photographs can be imaged before the platen gets too dirty. This is the slowest part of the scanning process/it’s a bottleneck. The camera lens will also be cleaned as necessary.

The camera height on the copy stand is adjusted based on the dimensions of the photograph being imaged. Photographs of the same overall dimensions are grouped together to facilitate how quickly they can be scanned, and are often pulled out in groups of 10-30 images (based on the amount of space I have available to accommodate them at the time). I place a checkmark in my notes for that binder for the image that has been removed for imaging, and a second checkmark when it is returned to its original place in the binder.

Blow dust off each image

Each [object] is then moved to the copy stand. If it is a print, a sheet of white paper is laid down as a backdrop, and the two LED lamps attached to the copy stand will be turned up to full brightness. Often, a platen made of Optium [acrylic] is required to be placed over the object to keep the edges from curling. If there is writing or a date on the back of the print, I will also take a reference image of this information. If the object is a negative, the light panel will be used instead of the copy stand base. A piece of non-reflective acrylic is placed between the light panel and the negatives, to reduce instances of “newton rings” appearing where the negative makes contact with another glass/acrylic surface; this is also often cleaned and wiped down, separately of the light panel.

Both the front and back of a negative will be imaged, and acetate negatives will often require a platen as well depending on how badly the photograph has begun to warp or curl. Otherwise the image does not always want to lie flat against the light panel/non-reflective acrylic, and the resulting image would be blurry wherever the photograph was not making contact with the surface. Glass plate negatives do not require a platen.

Each object is imaged using Capture One software on a MacBook Pro, tethered via USB-C cable to a Sony a7r mirrorless camera attached to the copy stand. Once the object is in place on the copy stand, a grid overlay in Capture One is used to ensure the object is lined up and not at an angle, and any necessary adjustments are made to the camera controls within Capture One. These adjustments often correlate to how much light the camera needs to capture depending on the type of object, if a negative is especially dark or washed out, etc. I have established preset adjustments to be made, so it only requires a few seconds for each individual object.

The object is then imaged by clicking a facsimile of a camera button within Capture One. The amount of time it takes for the computer/camera to take the photograph varies. Often it only requires a few seconds, but sometimes the systems/software will be slow and it may take 4 or 5 times longer. If there is a pattern og photographs being taken too slowly, the camera will be turned off and on again.

Once the image has been taken, the platen will be moved (if applicable) and the object will be turned over if necessary, the platen placed over the object again, and a second shot captured. Some types of objects, such as film strips that have been pieced together or ephemera like booklets, require additional steps (photographing the individual pages of a booklet, carefully maneuvering the stitched-together film strips around to capture each individual image).

Once an object has been fully imaged, it is moved away from the copy stand and returned to its place in its binder. Surfaces will be wiped down if necessary, and the next object will be placed on the copy stand to repeat the process.

As the completed scans are needed by Rose for review or to pass along to other interested parties, they must be processed and uploaded. The images within Capture One are reviewed; typically this takes only a moment or two, though if an object has a large number of associated images (such as with film strips) it will take proportionately longer to ensure every image has been accounted for. These chosen images are then exported following predetermined settings (export at 1200ppi to Adobe Photoshop PSD files) to predetermined folder locations, and exporting can take 5-30 minutes or longer, depending on how many images are being exported at the time.

Once all the selected images have been exported to PSD, they are renamed in bulk according to a predetermined schema for file names, and processed in Adobe Photoshop for viewing and use. The images must be saved as both TIFF and JPG files, and if it is a negative, copies must be saved for both the negative itself (front and back) as well as positives made from the negative (front and back). After trial and error with completing this entire process manually, I have structured several Photoshop functions to automate part of this process, so that images may be processed while I return to scanning and uploading new images. Negatives can be automatically converted to positives at the push of a button, after which I can manually make further adjustments to brightness, contrast, and so forth. The file then must be saved with these changes, which takes a few minutes per image due to the size of the images; fortunately I can move on to working with another image while previous images are being saved. The speed at which Photoshop saves files and runs automations is entirely determined by the speed and power of the computer itself, and the hard drive storing the images.

I then take a few moments for each image to manually crop out excess background/borders, as there is no way to accurately and consistently automate cropping this way. Once images have been cropped and any positive images made from negatives, another automated workflow will create TIFF files of the negatives and positives both. This automated process can also take a minute or two per image, but can run in the background or overnight as needed. TIFF files will eventually be stored in DAMS software and are automatically backed up to Google Drive so that Rose has access to higher quality image files, without the excess file size of a PSD. For more easily browsing and disseminating scanned images, the TIFFs are then converted to JPG copies. The current method for creating these JPG copies is to use the built-in Terminal software, point it at the folder containing the TIFF files, and run a line of code that will then create JPGs for all TIFFs in that folder.

All PSDs, TIFFs, and JPGs are sorted into their own folders for each binder, and JPGs are uploaded to Airtable, online database software which allows for extensively filtering and sorting records as Rose and I require. Airtable allows for bulk uploading, so a new database record will be created for each individual photograph, and all associated scans will be uploaded to that record. Depending on how quickly Airtable’s servers are running at the time, uploading on average 2-4 JPGs can take 1-2 minutes per record, but I will typically move on to uploading the next record, and the next, etc., and eventually all of the uploads will have finished. Records within Airtable will be grouped first by binder, and I then manually arrange the order in which objects appear within the binder. I note further which images Rose previously flagged for exhibition, and time permitting, records will be fully labeled and categorized. When DAMS software for the Hooks collection is eventually decided, the DAMS will take the place of Airtable.

Once every single object within a binder has been imaged, processed, and uploaded, I go over that binder one last time, comparing them to the uploaded images to ensure nothing has been overlooked. Once done, the binder is marked as complete and returned to Hooks Storage.

Rose reviews the contents of each binder, flagging specific images for possible inclusion in the exhibition or catalogue. Once she has completed her review, the binder is passed along to me for digitization.

To keep track of which objects have been imaged, I apply numbered page tabs to each plastic sleeve in the binder. I record basic information about each sleeve’s contents, including the type of material (such as negatives, prints, or glass plates), the dimensions of the object (e.g., 8x10 or 5x7), and whether the object has been flagged by Rose. Without this step, it would be difficult to accurately track the location or progress of each object without handling every item individually every time. Progress is further noted in a spreadsheet broken down by binder, flagged and unflagged objects, and current status either scanning, processing, or uploading, with additional notation for which objects in each binder have been complete (e.g. all 8x10 prints in one binder, or only flagged 5x7 negatives in a different binder.)

To minimize the the presence of dust, lint, hair, or flakes caused by deteriorating materials—especially those that might appear in scanned images—I clean the base of the copy stand and the light panel at least once a day. The front and back of the platens used to keep photographs flat are cleaned as often as necessary, sometimes between each object as it is imaged. The camera lens is also cleaned periodically to remove any potential dust and lint. Unfortunately, this cleaning process often becomes a bottleneck in the workflow due to the time it takes.

The camera height on the copy stand is adjusted based on the dimensions of the photograph. To streamline the imaging process, I group photographs of the same dimensions together and usually work in batches of 10 to 30 objects at a time, depending on available space to lay the objects out in my workspace. For each object that I remove for digitization, I place a checkmark in my notes, and once it is returned to the binder, I add a second checkmark.

When an object is ready to be imaged, it is moved to the copy stand. Prints are placed against a white background and lit using two LED lamps at full brightness. If the print shows signs of curling, a platen made of Optium acrylic is used to hold it flat. If there is information on the reverse—such as writing or a date—I take a reference image of the back as well.

Negatives are digitized using the light panel instead of the copy stand base. To reduce the appearance of Newton rings, a piece of non-reflective acrylic is placed between the light panel and the negative. This surface is also cleaned separately from the light panel. Both the front and back of each negative are imaged. For acetate negatives that have begun to warp or curl, a platen may also be required to keep the image flat and in focus. Glass plate negatives do not require a platen.

Imaging is performed using Capture One software running on a MacBook Pro, with a Sony a7R IV mirrorless camera tethered via USB-C and mounted to the copy stand. A grid overlay within Capture One ensures the object is level and centered. Camera settings—such as exposure and white balance—are adjusted as needed. For efficiency, I have created presets within Capture One that make most adjustments automatic.

The object is photographed using a virtual shutter button in Capture One. Typically, this process takes only a few seconds, although occasionally the software slows down and may take longer. In cases of repeated slowdowns, restarting the camera usually resolves the issue. If a second image is needed—such as for the reverse side of an object—the platen is lifted, the object turned over, the platen replaced, and another image captured.

Special materials like booklets or stitched-together film strips require additional handling. For booklets, each page must be photographed individually, and for film strips that have been taped together, the negatives must be carefully maneuvered to capture each frame. After an object is imaged, it is returned to the binder, and if needed the copy stand area is wiped down before the next object is placed.

Once Rose requests the digital files, or once a sufficient number of images have been captured, the post-processing phase begins. The images are first reviewed in Capture One to ensure everything has been captured as needed. This is typically a quick step, though it can take longer for complex items like film strips with many frames. The selected images are then exported using preset settings (1200 ppi resolution as Adobe Photoshop PSD files) to designated folders. Export time can range from a few minutes to over half an hour, depending on volume.

Once exported, images are renamed in bulk following a consistent file-naming convention. They are then opened in Adobe Photoshop, where each image converted to a positive and saved as a TIFF copy of the file. If the object is a negative, I save versions of both the negative and a digitally converted positive, for both front and back. I have automated parts of this process using Photoshop actions, allowing the software to run in the background while I return to scanning. For negatives, the conversion to positive is also automated, after which I make further manual adjustments to e.g. brightness and contrast. Due to the file sizes, saving these images can take a few minutes each, but I am able to move on to the next image while that occurs.

Cropping is the one part of the process that cannot be reliably automated. I manually crop each image to remove excess backgrounds and borders, then run an additional Photoshop automation to generate the final TIFF files. This process can also take a minute or two per image, but again, it can run in the background or overnight. TIFF files will eventually be stored in our future DAMS software, and are currently backed up to Google Drive, giving Rose access to high-resolution images without the overhead of large PSD files. For easier browsing and sharing, JPG versions are created from the TIFFs using a Terminal command-line script, which batch converts the images.

All PSD, TIFF, and JPG files are sorted into binder-specific folders. The JPGs are uploaded to Airtable, our current database platform, which allows for extensive filtering and sorting. Each record in Airtable corresponds to an individual object and includes all associated JPGs. Upload time varies depending on server speed but typically takes one to two minutes per record. I continue uploading additional records while waiting for previous uploads to complete. Records are grouped by binder and manually reordered to match the physical binder layout. I also mark which images Rose previously flagged for exhibition, and—when time permits—I complete the records with labeling and categorization. Eventually, when DAMS software is selected for the Hooks Collection, it will replace Airtable for managing and accessing these digital assets.

Once every object in a binder has been digitized, processed, and uploaded, I perform a final check. I go through the binder one last time and compare its contents to the uploaded images to ensure that nothing has been missed. When that final review is complete, the binder is marked as finished and returned to Hooks Storage.

Rose begins by reviewing the contents of each binder, flagging specific images for potential inclusion in the exhibition or catalogue. Once she has finished her review, the binder is handed off to me for digitization.

Before scanning begins, I organize the binder in a way that helps track what has already been imaged. Numbered page tabs are applied to each plastic sleeve, and I note the contents of each sleeve—whether it’s a negative, print, glass plate, etc.—along with the size (e.g., 8x10, 5x7), and whether the object has been flagged by Rose. Without this step, it would be difficult to locate specific items or determine their scanning status without physically inspecting each one every time. I also keep a running spreadsheet that logs progress per binder, including which items have been flagged, what has been scanned, what’s currently being processed, and what’s been uploaded.

To reduce the presence of dust, lint, hair, and deteriorating material flakes in scanned images, I clean the base of the copy stand and light panel at least once daily. I also wipe down the front and back of the acrylic platens as often as necessary—sometimes between each object. Ideally, several photographs can be imaged before the platen requires cleaning again, but this is one of the slower, more finicky parts of the process. The camera lens is also cleaned periodically, as needed.

The height of the camera on the copy stand is adjusted based on the dimensions of the photograph being scanned. To streamline the process, I group together objects with similar dimensions and typically work in batches of 10–30 images, depending on available space. When I remove an object from the binder, I place a checkmark in my notes; once it’s returned, I add a second checkmark to ensure everything is accounted for.

For prints, I place the object against a white paper backdrop on the copy stand base. The LED lamps attached to the stand are set to full brightness, and if the print shows signs of curling, I use a platen made from Optium acrylic to hold it flat. If there’s any writing, labeling, or a date on the reverse of the object, I take a reference photo of that as well.

Negatives are digitized on a light panel instead of the base. To reduce the risk of Newton rings—interference patterns that appear when glossy surfaces touch—I place a sheet of non-reflective acrylic between the light panel and the negative. This sheet is cleaned separately from the light panel. Both the front and back of each negative are imaged. Acetate negatives, which often warp or curl, may also require a platen to hold them flat. If the negative isn’t making full contact with the surface, the scan will be blurry. Glass plate negatives typically lie flat enough that a platen isn’t necessary.

All images are captured using Capture One software on a MacBook Pro tethered to a Sony a7R mirrorless camera mounted to the copy stand. A grid overlay in Capture One helps ensure the object is level and centered. I adjust the camera settings in the software as needed based on lighting conditions, object type, or the density of a negative. I’ve created a series of preset adjustments to save time—applying one usually only takes a few seconds per image.

The image is captured by clicking a virtual shutter button within Capture One. The shot usually takes just a few seconds to process, though occasionally the software lags, in which case I reset the camera. If the object needs to be flipped—for example, to photograph its reverse—I lift the platen (if one is used), flip the object, replace the platen, and take a second shot. Some items, like stitched-together film strips or multi-page booklets, require more hands-on handling, including photographing each frame or page individually.

After imaging, the object is returned to its sleeve in the binder, and surfaces are wiped down again as needed. The next object is then placed on the copy stand, and the process continues.

Once a batch of scans is ready—or when Rose requests files for review—I move into post-processing. Images are reviewed in Capture One to ensure they’ve all been successfully captured. This step is usually fast, but can take longer with complex materials like film strips with multiple frames. Approved images are exported using predetermined settings (1200 ppi to Adobe Photoshop PSD format) to designated folders. Depending on volume, exports can take anywhere from 5 to 30 minutes or more.

Next, I rename all exported images in bulk according to our established file-naming schema. Files are then opened in Photoshop, where I process them for viewing and use. This includes converting negatives to positives, saving copies of both the original negative and the converted image (front and back), and applying basic edits like brightness and contrast adjustments. I’ve automated much of this workflow using Photoshop Actions, allowing me to keep scanning while Photoshop runs in the background. Saving large PSD files takes a few minutes each, but I can continue working on the next file while previous saves are in progress.

Cropping is the only part of the process that I can’t reliably automate. I manually crop each image to remove excess border and background. Once cropped, I run a second Photoshop automation to generate final TIFF files. This step can also take a minute or two per file but can be scheduled overnight or run passively.

TIFFs will eventually be stored in the final DAMS (Digital Asset Management System) for long-term access and preservation. For now, they are backed up to Google Drive, which allows Rose access to high-resolution files without the size burden of PSDs. To make browsing and sharing easier, I also generate JPGs from the TIFFs using a Terminal command that batch converts files within a selected folder.

All PSD, TIFF, and JPG files are sorted into binder-specific folders. JPGs are then uploaded to Airtable, our current database platform, which allows for filtering and sorting records. Each object receives its own record, with associated JPGs attached. Depending on server performance, uploading 2–4 JPGs per record usually takes 1–2 minutes. I continue uploading while earlier records finish, keeping the process moving. Records are grouped by binder and arranged manually to reflect the physical order of the binder. I also flag which items Rose selected for exhibition, and when time allows, I add more detailed labeling and categorization. Eventually, the DAMS chosen for the Hooks Collection will replace Airtable.

Once every object in a binder has been scanned, processed, and uploaded, I do a final pass. I compare the binder’s physical contents against the database to ensure nothing was missed. Once confirmed, the binder is marked complete and returned to Hooks Storage.

Hooks Collection Digitization: Detailed Overview

The digitization workflow begins with a curatorial review. Rose examines the contents of each binder and flags specific photographs or negatives for potential inclusion in the exhibition or catalogue. Once her review is complete, the binder is handed off to me for digitization.

1. Binder Organization & Tracking

To maintain control and visibility throughout the digitization process, I organize each binder systematically before imaging begins:

This helps prevent repeated handling and allows me to track exactly what has been imaged and where it belongs. I maintain a progress spreadsheet, updated in real time, that tracks each object by:

2. Equipment Prep & Cleaning

To minimize dust, lint, hair, or flakes from deteriorating materials in high-resolution images:

Though essential, cleaning is a frequent bottleneck in the workflow.

3. Imaging Setup

Camera height is adjusted based on object dimensions. To improve efficiency, I group objects of the same size and work in batches of 10–30 items, depending on available workspace. Each time I remove an object from the binder for imaging, I place a checkmark in my notes. A second checkmark is added when the object is returned to its sleeve.

Objects are scanned using a Sony a7R mirrorless camera mounted on a copy stand and tethered to a MacBook Pro running Capture One. A grid overlay ensures alignment, and I use custom presets for lighting and exposure to minimize setup time per image.

For complex materials (e.g., booklets or stitched-together film strips), each page or frame is imaged individually, requiring additional manual handling.

4. Image Capture & Review

Images are taken within Capture One by clicking a virtual shutter. The process usually takes a few seconds, but system lag may slow it down. If needed, I reset the camera to resolve delays.

After each image is captured:

5. File Export & Processing

When images are ready for post-processing (either as a batch or by request from Rose), I:

In Photoshop, I process each image by:

Due to the size of the PSDs, saving and converting files can take several minutes per image, but automation allows me to continue scanning or uploading while these tasks run in the background or overnight.

6. File Output & Uploading

Once final versions are created:

Files are organized into binder-specific folders, with separate subfolders for PSDs, TIFFs, and JPGs.

7. Airtable Upload & Record-Keeping

JPGs are uploaded to Airtable, our interim digital image management system:

Uploading time varies (typically 1–2 minutes per record), but I continue inputting records as the server processes others in the background. Once a permanent DAMS is selected for the Hooks Collection, it will replace Airtable.

8. Final Binder Review

Once all objects in a binder have been scanned, processed, and uploaded:

Absolutely — I’ll preserve the formatting you liked and integrate more of your original, richly detailed language and process notes throughout. The result will retain the professional, clearly structured tone while honoring the full complexity of your workflow. Here’s the revised and more comprehensive version:

Hooks Collection Digitization: Detailed Overview

The digitization workflow begins with a curatorial review. Rose carefully examines each binder and flags specific photographs or negatives for potential inclusion in the exhibition or catalogue. Once her review is complete, the binder is handed off to me for digitization.

1. Binder Organization & Tracking

Before any imaging begins, I organize each binder to ensure traceability and avoid misplacement:

This prevents having to remove and inspect each item individually during scanning. I also maintain a real-time spreadsheet, broken down by binder, with columns for:

This spreadsheet is essential for staying oriented across overlapping or interrupted batches.

2. Equipment Prep & Cleaning

To ensure optimal image quality, I follow a strict cleaning regimen to minimize the capture of:

Cleaning routines include:

Although time-consuming, this cleaning step is essential and constitutes one of the major workflow bottlenecks, especially when materials are particularly degraded or dusty.

3. Imaging Setup & Object Handling

The camera height is adjusted based on the dimensions of each object. To streamline scanning:

For each item removed for imaging:

This checkmark system ensures nothing is lost or overlooked during long scanning sessions.

4. Imaging Process

All objects are photographed using a Sony a7R mirrorless camera, tethered via USB-C to a MacBook Pro running Capture One software. The camera is mounted on a copy stand with two adjustable LED lights.

A grid overlay in Capture One helps align objects, and I make manual exposure adjustments depending on:

I’ve created preset adjustment profiles within Capture One to minimize setup time for each object.

Prints

Negatives

Special materials

If a second shot is required (e.g. for the back of an object):

Once imaging is complete, the item is returned to the binder and the process begins again.

5. File Export & Initial Review

After a batch is imaged—or when Rose requests files for review—the processing phase begins.

6. Photoshop Processing

Exported PSDs are renamed in bulk using a standardized file naming schema.

Each image then undergoes the following processing in Adobe Photoshop:

I’ve created multiple Photoshop actions to automate:

Due to the size of the files, Photoshop saving can take several minutes per image, but I usually continue scanning or uploading while the automations run in the background.

Cropping

If needed, TIFF generation can run overnight to maximize daytime scanning hours.

7. Backup, Conversion & Folder Management

8. Airtable Upload

JPGs are uploaded to Airtable, our current cloud-based image database:

Uploading 2–4 JPGs per record typically takes 1–2 minutes, depending on Airtable’s current server performance. I continue inputting new records while earlier ones upload in the background.

Eventually, Airtable will be replaced by a permanent DAMS, at which point files and metadata will be migrated.

9. Final Binder Review

Once every item in a binder has been scanned, processed, and uploaded:

Let me know if you’d like:

I’m also happy to create a visual workflow diagram or decision tree if you think that would help new staff grasp this complex process more quickly.

Hooks Collection Digitization: One-Page Workflow Summary

1. Curatorial Review & Intake

2. Equipment Cleaning & Prep

3. Imaging Process

4. Object-Specific Imaging

5. File Export & Review

6. Photoshop Processing

7. Backup & File Conversion

8. Airtable Upload

9. Final Review & Completion

The digitization process for the Hooks Collection begins with an initial review phase conducted by Rose, who carefully examines each binder’s contents. During this review, she flags particular images that are of interest for exhibition or inclusion in a catalogue. Once the binder has been reviewed, it is passed to me to begin the scanning process. To maintain order and ensure thorough tracking of every object imaged, I organize each binder using a systematic approach. Numbered page tabs are applied to every plastic sleeve within the binder. For each sleeve, I log key details including the object type (such as negative, print, or glass plate), its dimensions (e.g., 8x10 or 5x7), and whether it has been flagged for exhibition. Without this system, it would be challenging to track and return images accurately without resorting to removing them one by one. Additionally, I maintain a comprehensive spreadsheet that records the status of each binder—divided into flagged and unflagged items—and the current workflow stage (scanning, processing, or uploading). This also includes notes on partially completed binders, such as “all 8x10 prints complete” or “only flagged 5x7 negatives scanned.” To ensure the highest image quality during scanning, meticulous attention is paid to cleanliness. Dust, lint, flaking, and other debris from aging photographs can easily be captured in high-resolution scans. Therefore, I clean the copy stand and light panel at least once daily, and wipe the platen surfaces—used to flatten photographs—before and between objects as needed. This cleaning process, though time-consuming, is a necessary bottleneck. The camera lens is also cleaned periodically. The copy stand’s camera height is adjusted based on the photograph’s dimensions. Objects of similar sizes are grouped together to streamline the scanning process, with batches of 10 to 30 pulled at a time, depending on workspace constraints. For each object removed from a binder, I place a checkmark in my notes, and a second checkmark once it is returned to its original sleeve. Each object is scanned individually using a Sony a7R mirrorless camera tethered to a MacBook Pro via USB-C, operating through Capture One software. Prints are scanned with a white backdrop under full LED lighting, often with an Optium acrylic platen used to prevent curling. If there is a date or writing on the back of a print, a reference photo is also taken. For negatives, I use a light panel in place of the copy stand base, and insert a piece of non-reflective acrylic between the panel and the negative to prevent Newton rings. This acrylic is also kept clean independently of the light panel. Both sides of each negative are scanned. Acetate negatives may require a platen if they are curled or warped, to ensure they lie flat and produce sharp images. Glass plate negatives, however, typically do not need a platen. Once positioned, objects are aligned using a grid overlay in Capture One. Exposure settings are adjusted based on object type and image density, guided by preset templates that minimize setup time. After alignment, I capture the image through Capture One. While most exposures take just a few seconds, system lag can occasionally slow the process. If delays become consistent, the camera is reset. If an object requires imaging of its back or additional sides, I repeat the process as needed. Special objects, such as stitched film strips or ephemera like booklets, require additional handling—photographing each frame or page individually and repositioning carefully throughout. Once scanned, the object is returned to the binder, surfaces are cleaned if necessary, and the next object is prepared. When Rose needs access to completed scans for review or distribution, I begin the processing and export phase. Images are reviewed in Capture One, then exported at 1200ppi to Adobe Photoshop PSD format in organized folder locations. Depending on batch size, exports may take between 5 and 30 minutes or more. Post-export, files are renamed in bulk using a consistent naming convention and opened in Photoshop for additional processing. Each image is saved as both TIFF and JPG files. For negatives, both the negative (front and back) and positive versions must be saved. I’ve automated much of this using custom Photoshop actions, allowing me to scan and upload additional files while automations run in the background. Once negative-to-positive conversions are made, I manually adjust contrast, brightness, and other settings. Due to the large file sizes, saving changes can take several minutes, but I work on subsequent files in parallel. Manual cropping is necessary to remove excess background or borders, as this cannot be automated accurately. After cropping and adjustment, an automated Photoshop script converts the files into final TIFF formats. This process is also time-intensive but can run overnight if needed. These TIFFs are automatically backed up to Google Drive, providing Rose with high-resolution access without the storage burden of PSDs. For ease of browsing and sharing, JPGs are generated from the TIFFs using a Terminal command that batch-converts files in place. All files—PSDs, TIFFs, and JPGs—are sorted into separate folders by binder. JPGs are uploaded to Airtable, which functions as our interim image database. Airtable supports bulk uploading, allowing me to create a new record for each scanned object, complete with its associated images. Uploading 2–4 JPGs per record typically takes 1–2 minutes depending on server speed, but I continue inputting new records while the platform processes previous ones. Within Airtable, records are organized by binder and manually arranged to match the physical order of items. Images flagged by Rose are further marked, and metadata is added as time permits. Once a permanent digital asset management system (DAMS) is selected for the Hooks Collection, it will replace Airtable as the long-term solution. After every object in a binder has been scanned, processed, and uploaded, I perform a final cross-check between the physical binder and the digital records to ensure that no items have been missed. Once confirmed, the binder is marked as complete and returned to storage.