imaging meeting

Outline draft 4

Here’s a fully synthesized Markdown version of your outline with all the relevant paragraphs and tables merged in, keeping technical details, examples, plain-language notes, and scenarios intact:

# 1. Context & Capture

• Camera & RAW Capture

  • The Sony A7R V captures ~61 MP full-frame RAW files (~9500 × 6300 pixels), recording all photons hitting the sensor without in-camera processing.
  • RAW files act as digital masters: they store full sensor data, allowing images to be reprocessed, color-corrected, or resampled multiple times for different outputs (prints, digital displays, derivatives) while maintaining maximum quality.
  • Plain-language note: RAW files are like “digital negatives”—they contain everything the camera captured and give the most flexibility for later editing.
  • Footnote: Images are captured with a “gutter” for efficiency; final crops can reduce dimensions to ~8k × 5k or 7k × 4k pixels, still large enough for high-quality prints.
  • Consistent high-resolution capture: Oversampling is applied when images are destined for print or exhibition, balancing storage, workflow, and scaling.
  • Accurate color reproduction: Calibrated white balance and attention to swatches ensure fidelity across formats, meeting professional standards without slowing routine capture.

• Capture Methods

  Method	Pros	Cons
  Platen	Flattens curved originals, consistent capture	Risk of Newton rings, pressure damage
  Vacuum Table	Gentle flattening, good for film & prints	Expensive, suction risk to fragile items
  Post-Processing	No physical contact, quick correction	Can blur, loses authenticity from artificial distortion

  • Post-editing (artificial correction): Can fix distortion, but may blur edges and lose authenticity compared to capturing the true shape.
  • Platen scanners: Keep photos flat, but can cause Newton rings (rainbow-like interference).
  • Vacuum tables: Hold items flat, but are expensive and rarely justified.

• FADGI Compliance

  • Workflow and settings align with preservation digitization standards.
  • Plain-language note: FADGI sets out requirements for things like sharpness, color accuracy, and resolution. We’re meeting these by capturing at high resolution, using calibrated tools, and keeping RAW + TIFF masters.
  • Efficient adherence to FADGI: Workflow hits all 3-star requirements and implements 4-star practices as needed, delivering professional-grade images at scale without unnecessary extra steps.

# 2. DPI & Resolution

• On-screen vs Print DPI
  • The “DPI” in a RAW or TIFF (e.g., 1200 or 4400 ppi) reflects the capture resolution of the image—how many pixels per inch the sensor recorded—not a fixed printing requirement.
  • For print, images are resampled (changing the pixel count) to a lower DPI (e.g., 300 ppi for standard prints, 96 ppi for very large wall vinyls) because print size and viewing distance determine how many pixels per inch are actually needed for a visually sharp result.
  • Plain-language guide: Divide the pixel count by the print DPI to get the size. Example: 6000 px ÷ 300 dpi = 20 inches. (So a 6000 px file prints about 20 inches wide at 300 dpi.)
  • DPI Cheat Sheet (Screen vs Print, Easy Version)
    1. Pixels = total squares captured. Example: 8100 × 5800 = 46.9 MP.
    2. Print DPI = how tightly you pack those pixels. More DPI = crisper print; less DPI = pixels spread out.
    3. Standard print (16 × 20 in): 8100 ÷ 16 ≈ 506 DPI, 5800 ÷ 20 ≈ 290 DPI → ~300 DPI, perfect for exhibition prints.
    4. Large wall vinyl (8 ft ≈ 96 in): 8100 ÷ 96 ≈ 84 DPI, 5800 ÷ 96 ≈ 60 DPI → still looks good from normal viewing distance.
    5. Key idea: Pixels are fixed; DPI just determines how big you print them. Big files let you pick DPI for each output.
• Resampling & Pixel Limits
  • Resampling reduces the image’s pixel density to match the intended print size without inventing extra detail—you cannot create new original pixels, only interpolate (smoothly fill gaps) or average existing ones.
  • This allows extremely high-res captures to produce large prints efficiently while retaining visual fidelity at human viewing distances.
  • Plain-language note: Oversampling means we don’t have to rescan every time a new project needs a different size—one big capture can be downscaled into many smaller versions.
• Resampling & Iterations Workflow
  • From the RAW master, images can be resampled to different DPIs for printing or online display.
  • Multiple iterations—archival TIFFs, lower-res TIFFs, JPEGs—can be generated without ever touching the original RAW.
  • Layman’s analogy: Like stretching or shrinking a grid of colored tiles: you don’t add new real tiles, you just make them fit the new space.
• Stitching for Large Objects
  • For very large objects, multiple overlapping images can be captured on the copy stand using the 61 MP Sony A7R V (~9500 × 6300 pixels per frame) and digitally stitched into a single composite.
  • Stitching two or more frames effectively doubles or triples the total pixel dimensions, increasing the effective megapixel count to 120–180 MP or more.
  • This allows the resulting image to maintain high DPI—300 ppi or more—for large-format prints while preserving fine detail and ensuring on-screen clarity when zoomed, without artificial interpolation.

# 3. Image Processing

• Sensor Grain vs Digital Noise
  • Plain-language note: Film grain came from the chemistry of film; digital noise comes from the electronics in the camera sensor. Both show up as speckles in low light or high sensitivity settings.
  • Noise or grain is what the sensor actually “sees”—tiny variations in light, photon arrival, and sensor electronics. Historically, grain was the chemical texture in film emulsions; now it’s a digital analog—the sensor’s finest response to light. Even if a glass plate negative looks smooth, the sensor records microscopic variations.
  • Very high-resolution sensors make this visible in ways earlier cameras or scanners did not; think of it as the fingerprint of light itself.
• DxO PhotoLab 9
  • Used for denoising (reducing speckles) and correcting warped or curved images.
  • Plain-language note: Denoising software can make photos cleaner and more readable, but too much can erase small details.
  • Optical correction: Lenses can introduce distortions, like curved lines or uneven edges, and slight perspective warping. DxO PhotoLab can straighten these curves and correct lens-specific distortions, producing a truer-to-life representation.
  • Preparing the image in DxO ensures cleaner, geometrically accurate files for Photoshop.
• Editing (Photoshop)
  • Used for making digital positives, removing dust/scratches, balancing tones, and cropping.
  • Automation: Some steps (like cropping or making JPGs) can be scripted for efficiency.
  • Cropping tightly and removing dust/blemishes is done selectively for exhibition copies or high-visibility derivatives, keeping routine digitization fast while still enabling exhibition-quality output.
  • Polished final products: Photoshop edits allow targeted retouching while RAW and TIFF masters remain untouched.

# 4. DAMS & Storage

• Pics.io Overview
  • Cloud-based DAMS; organizes, searches, and manages assets.
  • Features: OCR, auto-descriptions, face recognition, intelligent search.
  • One record in TMS likely links the entire collection to Pics.io.
  • AI outputs may require manual review and correction to ensure accuracy and proper metadata assignment.
• AI Tools
  1. Automatic descriptions/keywords: Generates text describing content (“man,” “portrait,” “suit”).
  2. OCR/transcriptions: Reads text within images and makes it searchable.
  3. Face recognition: Groups images of the same person.
  4. Intelligent descriptive AI search: Allows natural-language queries to find images.
  5. AI task limits/credits: Each operation counts against yearly allotment, prioritizing workflow efficiency.
  • Plain-language note: AI can be trained to recognize people or recurring subjects, helping speed up cataloging.
• File Policy & Retention
  • RAW = master file (never altered).
  • TIFFs = archival/preservation versions.
  • JPGs = smaller, shareable discovery images.
  • PSDs = working files (not permanent).
  • Versos saved selectively (lower resolution or only when relevant).
  • For less-critical images, saving as 8-bit TIFF or 300 dpi creates a “Discovery” version that’s still usable without massive storage costs.
  • Priority objects get full-resolution archival TIFFs/RAWs.
• File Sizes per Format

• Collection Storage Scenarios
  • 1,000 images: 16-bit 1200 ppi TIFFs → 130 GB; 16-bit 4400 ppi TIFFs → 1.75 TB; RAWs → 120 GB; JPEGs → 5 GB; PSDs → 160 GB
  • 50,000 images: 16-bit 1200 ppi TIFFs → 6.5 TB; 16-bit 4400 ppi TIFFs → 87.5 TB; RAWs → 6 TB; JPEGs → 250 GB; PSDs → 8 TB
  • 75,000 images (~2.5 assets per object → ~187,500 files): 16-bit 1200 ppi TIFFs → 24.4 TB; 16-bit 4400 ppi TIFFs → 328 TB; RAWs → 22.5 TB; JPEGs → 937 GB; PSDs → 30 TB
• Storage Location & Cost
  • Files live on external 12 TB drives and B2 Backblaze cloud storage. Monthly cost noted separately.
• Progress Overview
  • ~8,000 items across 36 binders. ~20 binders reviewed in August. ~5,000 images digitized so far, including deteriorated nitrate/acetate scans.

# 5. Additional (If Time)

• Outside Contractors
  • Possible for acetate or fragile formats; interns or contractors could assist.
• Naming Conventions
  • e.g., “N” for nitrate, “r/v” for recto/verso, consistent identifiers tied to binders.

# References / Plain-Language Notes (Synthesized)

• RAW = digital master; preserves sensor data.
• Oversampling = capturing extra resolution so you can downscale later without rescanning.
• DPI = packing of pixels; print DPI can be reduced for large prints if pixel count is sufficient.
• Resampling = interpolating pixels for new output size without inventing original detail.
• Noise/grain = sensor artifact, natural texture; denoising reduces speckle while preserving detail.
• AI = speeds up metadata, OCR, face recognition; outputs require review to ensure accuracy.
• Stitching = for very large objects, multiple frames create one high-resolution composite.

This synthesizes your outline with all the technical info, plain-language explanations, storage scenarios, AI notes, and image-processing details merged in, while avoiding redundant repetitions but keeping all the rich content intact.

If you want, I can also add inline references to tables and scenarios directly under the bullets where they belong, so it reads more like a formal report/manual rather than an outline. That would make it fully “ready-to-share.” Do you want me to do that next?

Old draft for DPI

• On-screen vs Print DPI
  • The “DPI” in a RAW or TIFF (e.g., 1200 or 4400 ppi) reflects the capture resolution of the image—how many pixels per inch the sensor recorded—not a fixed printing requirement.
  • For print, images are resampled (changing the pixel count) to a lower DPI (e.g., 300 ppi for standard prints, 96 ppi for very large wall vinyls) because print size and viewing distance determine how many pixels per inch are actually needed for a visually sharp result.
    • Resampling reduces the image’s pixel density to match the intended print size without inventing extra detail—you cannot create new original pixels, only interpolate (smoothly fill gaps) or average existing ones.
      • From the RAW master, images can be resampled to different DPIs for printing or online display. Multiple iterations—archival TIFFs, lower-res TIFFs, JPEGs—can be generated without ever touching the original RAW.
    • This allows extremely high-res captures to produce large prints efficiently while retaining visual fidelity at human viewing distances.
    • Oversampling is applied when images are destined for print or exhibition, balancing storage, workflow, and scaling. (I think this is the 4400 ppi stuff)
    • Pixels = total squares captured; MP (megapixels) = that total divided by one million
      • So for example: 8100 × 5800 = 46.9 MP. Print DPI = how tightly you pack those pixels. More DPI = crisper print; less DPI = pixels spread out.
      • Divide the pixel count by the print DPI to get the size. Example: 6000 px ÷ 300 dpi = 20 inches. (So a 6000 px file prints about 20 inches wide at 300 dpi.)
        • Standard print (16 × 20 in): 8100 ÷ 16 ≈ 506 DPI, 5800 ÷ 20 ≈ 290 DPI → ~300 DPI, perfect for exhibition prints.
        • Large wall vinyl (8 ft ≈ 96 in): 8100 ÷ 96 ≈ 84 DPI, 5800 ÷ 96 ≈ 60 DPI → still looks good from normal viewing distance.
    • Key idea: Pixels are fixed; DPI just determines how big you print them. Big files let you pick DPI for each output.
• Stitching for High Priority or Large Objects
  • For high priority or very large objects, multiple overlapping images can be captured on the copy stand using the 61 MP Sony A7R V (~9500 × 6300 pixels per frame) and digitally stitched into a single composite.
  • Stitching two or more frames effectively doubles or triples the total pixel dimensions, increasing the effective megapixel count to 120–180 MP or more.
  • This allows the resulting image to maintain high DPI—300 ppi or more—for large-format prints while preserving fine detail and ensuring on-screen clarity when zoomed, without artificial interpolation.
• Updated DPI draft
  • On-screen vs Print DPI
    • The “DPI” in a RAW or TIFF (e.g., 1200 or 4400 ppi) reflects the capture resolution of the sensor—how many pixels it recorded per inch—not a fixed printing requirement.
    • For print, images are resampled (adjusting pixel count) to match the intended print size and viewing distance.
      • Resampling reduces pixel density without creating new original pixels—you cannot invent detail, only interpolate or average existing ones.
        • This approach allows extremely high-res captures to produce large prints efficiently while retaining visual fidelity at normal viewing distances.
      • Oversampling such as using a 4400 ppi TIFF is applied for print or exhibition to balance storage, workflow, and scaling.
    • Pixels and Megapixels (MP)
      • Pixels = total squares captured; MP = total pixels ÷ 1,000,000. For example, 8100 × 5800 pixels = 46,980,000 px ≈ 46.9 MP.
      • Print DPI determines how tightly those pixels are packed. More DPI = crisper print, less DPI = pixels spread out.
      • To calculate print size: divide pixel dimensions by print DPI.
        • Example: 6000 px ÷ 300 DPI = 20 inches wide.
          • Standard print (16 × 20 in): 8100 px ÷ 16 in ≈ 506 DPI, 5800 px ÷ 20 in ≈ 290 DPI → ~300 DPI, ideal for exhibition prints.
          • Large wall vinyl (8 ft ≈ 96 in): 8100 px ÷ 96 in ≈ 84 DPI, 5800 px ÷ 96 in ≈ 60 DPI → acceptable for normal viewing distances.
      • Key idea: Pixels are fixed; DPI just determines print size. Higher-res files allow flexibility in selecting DPI for different outputs.
  • Stitching for High-Priority or Large Objects
    • For high-priority or very large objects, multiple overlapping captures can be taken on the copy stand with the 61 MP Sony A7R V (~9500 × 6300 px per frame) and digitally stitched into a single composite.
    • Stitching two or more frames effectively increases total pixel dimensions, boosting the effective megapixel count to 120–180 MP or more.
    • This ensures large-format prints maintain high DPI (300 ppi+) while preserving fine detail and supporting on-screen clarity at high zoom levels, without relying on artificial interpolation.
    ——

Outline draft 5

# 1. Context & Capture ← iffy header

• Camera & RAW Capture ← don’t like this header
  • File formats relevant to the Hooks Brothers Collection include:
    • RAW = master file
    • TIFFs = archival/preservation versions
    • JPGs = smaller, shareable access images
    • PSDs = working files (not permanent)
  • The Sony A7R V captures ~61 MP full-frame RAW files (~9500 × 6300 pixels), recording all photons hitting the sensor without in-camera processing.
    • Images are captured with a “gutter” for efficiency; final crops can reduce dimensions at times but are still large enough for high-quality prints.
  • RAW files act as digital masters: they store full sensor data, allowing images to be reprocessed, color-corrected, or resampled multiple times for different outputs (prints, digital displays, derivatives) while maintaining maximum quality. // From the RAW master, multiple outputs can be generated—archival TIFFs, lower-res TIFFs, JPEGs—without touching the original RAW.
    • RAW files contain everything the camera captured and give the most flexibility for later editing. [Caveat that RAWs by themselves can look underdeveloped and are often not compatible with many other non-photo software, and they often don’t contain certain [metadata???] like portrait/landscape orientation, and therefore while they are integral to keep as a master copy, they can’t fill in for e.g. a processed/edited archival TIFF.]
• FADGI sets standards for digitizing cultural heritage materials to ensure high-quality, long-lasting digital surrogates. Key guidelines include capturing images at sufficient resolution, using accurate color management, saving in uncompressed or minimally compressed formats with proper metadata, and handling originals carefully. Workflows should produce master files separate from access copies, include quality checks, and follow best practices for storage and preservation.
  • We’re meeting these by capturing at high resolution, using calibrated tools, and keeping RAW + TIFF masters, [etc.]. By default our workflow hits all 3-star requirements, and [routinely] implements 4-star practices [wherever] necessary for output quality.

# 2. DPI & Resolution

• On-screen vs Print DPI
  • The “DPI” in a RAW or TIFF (e.g., 1200 or 4400 ppi) reflects the sensor’s capture resolution—how many pixels per inch were recorded—not a fixed print requirement.
  • For print, images are resampled to match the intended size and viewing distance.
    • Resampling lowers pixel density without creating new pixels—you cannot invent detail, only interpolate or average existing ones. Physics sets a limit; the number of original pixels is fixed at the moment of capture, so larger prints can never have more true detail than the capture provides. This lets high-res captures produce large prints efficiently while retaining visual fidelity.
    • Oversampling (e.g., 4400 ppi TIFFs) is used for print or exhibition to balance storage, workflow, and scaling.
• Pixels and Megapixels (MP) ← i don’t like this as a header
  • Pixels = total squares captured; MP = total pixels ÷ 1,000,000. For example, 8100 × 5800 px = 46,980,000 px ≈ 46.9 MP.
  • Print DPI determines how tightly pixels are packed: more DPI = crisper print; less DPI = pixels spread out.
    • To calculate print size: divide pixel dimensions by print DPI. For example, 6000 px ÷ 300 DPI = 20 inches wide.
    • Pixels are fixed; DPI determines print size. Higher-res files allow flexibility for different outputs.
• High-Priority or Large Objects
  • For high-priority or very large objects, multiple overlapping captures on the 61 MP Sony A7R V (~9500 × 6300 px per frame) can be digitally “stitched” together into a single composite.
  • Stitching two or more frames increases total pixel dimensions, raising effective megapixels to 120–180 MP or more.
  • This preserves high DPI (300 ppi+) for large prints while maintaining fine detail and on-screen clarity, without artificial interpolation.

# 3. Image Processing ← not a great header

• Sensor Grain vs Digital Noise ← not a great header. does this even need a header
  • Film grain came from the chemistry of film; digital noise comes from the electronics in the camera sensor. Both show up as speckles in low light or high sensitivity settings.
  • Noise or grain is what the sensor actually “sees”—tiny variations in light, photon arrival, and sensor electronics. Historically, grain was the chemical texture in film emulsions; now it’s a digital analogue—the sensor’s finest response to light. Even if a glass plate negative looks smooth, the sensor records microscopic variations. Very high-resolution sensors make this visible in ways earlier cameras or scanners did not.
• Noise can be artificially reduced via “denoising” within photography editing software. The [better word than “leading vendor”] for noise removal is DxO’s PhotoLab 9, which can be used for denoising, correcting warped or curved images, [better phrasing than “and other techniques”].
  • These techniques have their own shortcomings; denoising works by “softening” the edges and textures within an image, potentially erasing small details. Optical correction [something about how it blurs/loses fidelity I swear I had this in my notes originally??].
• Exported prints and (optionally denoised) negatives are further adjusted via automation (batch cropping, bulk JPG conversion) and manual post-processing in Adobe Photoshop 2025, which allows for creating digital positives from the negatives, fine-tuning exposure and leveling, and retouching [for] dust, scratches, bubbling in the acetate, etc.
  • More detailed and extensive retouching withheld for exhibition copies or high-visibility derivatives.
  • Edited files are kept in a Photoshop “wrapper” (PSD) that is lossless, to facilitate any further adjustments and changes [to the file]. PSDs are retained for 1 year after creation.

# 4. DAMS & Storage

• All RAW files are automatically stored on MacOS drive via Capture One. Working files are kept on local MacBook Pro 2TB SSD, currently backed up to MBMA’s Google Drive account and an external Western Digital [Passport?] 12TB drive. Google Drive and WD Passport external drives also back up older files, PSDs, and any derivatives and copies.

  • For increased stability and reliability, and more robust backup and retrieval options, suggest moving collection’s cloud backups to Backblaze B2. If the museum’s IT department ever expands, this backup storage could also be reconfigured to be used for cost-effective DAMS storage.

• There are 36 binders with 20 binders flagged for digitization in August. About 50% of each binder is flagged for exhibition or catalogue, and focus is on digitizing flagged objects in the binders before moving on to flagged objects in the rest of the collection. Approximately 5000 images were digitized (including deteriorated nitrates/acetates) prior to those 20 binders introduced in August.

• File sizes vary by bit depth, format, and ppi and directly impact the cost of storage for backup or a DAMS.

  Format	Bit Depth	Average File Size
  TIFF 16‑bit, 1200 ppi	16-bit	130 MB
  TIFF 16‑bit, 4400 ppi	16-bit	360 MB
  TIFF 8‑bit, 1200 ppi	8-bit	60 MB
  JPEG derivative	8-bit	5 MB
  Uncompressed RAW	16 bit	130 MB
  PSD (working file)	16-bit	700 MB

  • DAMS Storage Scenarios

    Number of Images	16-bit 1200 ppi TIFF	16-bit 4400 ppi TIFF	8-bit 1200 ppi TIFF	RAW	JPEG
    1,000	130 GB	360 GB	60 GB	130 GB	5 GB
    50,000	6.5 TB	18 TB	3 TB	6.5 TB	250 GB
    ~187,500	9.75 TB	27 TB	4.5 TB	9.75 TB	375 GB

    • Storage costs would increase as digitized collection grew. Cost of external drives is also recurring as new ones occasionally replace [old ones.]
    • Suggested [stratification] of [which/how many images] are stored per object. All RAWs are retained.
      • Select objects receive oversampled TIFFs for print or may be “stitched” together. Priority objects get full-resolution archival TIFFs.
      • For less-critical images, saving as 8-bit TIFF or at 300 dpi may be the best option for “discovery” version that is still usable for research and reference.
      • Versos saved selectively, e.g. only the negative copy of a verso as an 8-bit TIFF or at 300 dpi.

• Pics.io DAMS

  • Pics.io will serve as the primary cloud DAMS, providing controlled, role-based access, quick and curated public sharing, and search across metadata, keywords, and full-text content. The system stores TIFF masters and generates JPG derivatives on demand, supports batch ingest and bulk metadata updates, and allows creation of custom fields and full version tracking.
    • One record in TMS likely links the entire collection to Pics.io.
  • It also supports AI-driven tasks based on a set number of credits per year, which include:
    • Automatic generation of detailed object descriptions and keywords (e.g. “woman,” “portrait,” “wedding,” “bouquet.”)
    • [Image] OCR [and audio/video transcriptions], reading text within images and making it searchable.
    • Facial recognition, tagging and grouping images of the same person.
    • Intelligent descriptive search, allowing for natural-language queries to find images.
      • Could upload images outside the Hooks collection to “train” it to recognize certain [figures].
    • AI outputs may require manual review and correction to ensure accuracy and proper metadata assignment.

# 5. Additional (If Time)

• Naming Conventions

  • e.g. “N” for nitrate, “P” for prints, “r/v” suffix for recto/verso, etc.

• Outside Contractors and interns

• [Flattening images??? how to phrase this lol]

  Method	Pros	Cons
  Platen	Flattens curved originals, consistent capture	Risk of Newton rings, pressure damage
  Vacuum Table	Gentle flattening, good for film & prints	Expensive, suction risk to fragile items
  Post-Processing	No physical contact, quick correction	Can blur, loses authenticity from artificial distortion

# References / Plain-Language Notes (Synthesized)

• RAW = digital master; preserves sensor data.
• Oversampling = capturing extra resolution so you can downscale later without rescanning.
• DPI = packing of pixels; print DPI can be reduced for large prints if pixel count is sufficient.
• Resampling = interpolating pixels for new output size without inventing original detail.
• Noise/grain = sensor artifact, natural texture; denoising reduces speckle while preserving detail.
• AI = speeds up metadata, OCR, face recognition; outputs require review to ensure accuracy.
• Stitching = for very large objects, multiple frames create one high-resolution composite.

This synthesizes your outline with all the technical info, plain-language explanations, storage scenarios, AI notes, and image-processing details merged in, while avoiding redundant repetitions but keeping all the rich content intact.

If you want, I can also add inline references to tables and scenarios directly under the bullets where they belong, so it reads more like a formal report/manual rather than an outline. That would make it fully “ready-to-share.” Do you want me to do that next?

Draft 6

# 1. Collection Capture & File Types

• File Formats
  • RAW = master file
  • TIFF = archival/preservation version
  • JPG = smaller, shareable access images
  • PSD = working files (temporary, not permanent)
• Camera Capture
  • Sony A7R V captures ~61 MP full-frame RAW files (~9500 × 6300 px), recording all photons hitting the sensor without in-camera processing.
    • Images may include extra margin (“gutter”) for efficiency; final crops reduce dimensions but remain large enough for high-quality prints.
  • RAW files serve as digital masters, storing full sensor data and allowing multiple reprocessing, color corrections, or resampling for prints, digital displays, or derivatives without altering the original.
    • RAWs may look underdeveloped initially, can lack some metadata (e.g., orientation flags), and are not always compatible with non-photo software, but remain essential as master copies.
• FADGI Compliance
  • FADGI guidelines ensure high-quality, long-lasting digital surrogates. Key practices include: capturing at sufficient resolution, using calibrated color management, storing in uncompressed or minimally compressed formats, retaining master vs. access copies, handling originals carefully, performing quality checks, and following proper storage/preservation procedures.
  • Our workflow meets all 3-star requirements by default, and implements 4-star practices where needed for output quality.

# 2. Resolution, Pixels, & Print Scaling

• DPI vs Print
  • DPI in a RAW or TIFF (e.g., 1200 or 4400 ppi) reflects sensor capture resolution, not a fixed print requirement.
  • For print, images are resampled to match intended size and viewing distance.
    • Resampling reduces pixel density but cannot create new detail; original pixels are fixed at capture.
    • Oversampling (e.g., 4400 ppi TIFFs) is used for exhibition or print to balance storage, workflow, and scaling.
• Pixels & Megapixels
  • Pixels = total squares captured; MP = total pixels ÷ 1,000,000. Example: 8100 × 5800 px = 46.9 MP.
  • Print DPI determines pixel packing: higher DPI = crisper print, lower DPI = pixels spread out.
    • Print size calculation: divide pixel dimensions by DPI. Example: 6000 px ÷ 300 DPI = 20 in.
• High-Priority / Large Objects
  • Multiple overlapping captures on the 61 MP Sony A7R V (~9500 × 6300 px per frame) can be stitched into a single composite.
  • Stitching increases total pixel dimensions (120–180 MP+), preserving high DPI (300 ppi+) for large prints and on-screen clarity without artificial interpolation.

# 3. Image Quality & Processing

• Sensor Grain vs Digital Noise
  • Film grain comes from chemistry; digital noise comes from sensor electronics. Both appear as speckles in low light or high ISO.
  • High-res sensors reveal microscopic variations that older cameras or scanners could not capture.
• Denoising & Corrections
  • Noise can be reduced with software such as DxO PhotoLab 9, handling denoising, geometric correction, and related adjustments.
  • Denoising softens edges/textures and may erase fine detail; optical corrections can slightly blur or reduce fidelity.
• Post-Processing
  • Exports (including optionally denoised negatives) are further processed via batch automation (cropping, bulk JPG conversion) and manual editing in Photoshop 2025.
    • Tasks include generating digital positives, exposure adjustment, leveling, and retouching dust, scratches, or acetate defects.
    • Detailed retouching is reserved for exhibition copies or high-visibility derivatives.
    • Edited files are stored in PSD wrappers (lossless) for up to one year to allow further adjustments.

# 4. Storage, File Sizes, & DAMS

• Local Storage

  • RAWs stored via Capture One on MacOS; working files on 2 TB MacBook Pro SSD, backed up to Google Drive and a 12 TB external drive.
  • Older files, PSDs, and derivatives are also backed up on external drives.
  • For greater stability and reliability, we suggest moving the collection’s cloud backups to Backblaze B2. If the museum’s IT department expands, this storage could later be reconfigured for cost-effective DAMS use.

• Collection Status

  • 36 binders total; 20 flagged for digitization in August.
  • About 50% of each binder is for exhibition/catalogue; digitization prioritizes flagged objects first.
  • ~5,000 images digitized prior to August (including deteriorated nitrates/acetates).

• File Sizes & Storage Scenarios

  Format	Bit Depth	Avg File Size
  TIFF 16‑bit, 1200 ppi	16-bit	130 MB
  TIFF 16‑bit, 4400 ppi	16-bit	360 MB
  TIFF 8‑bit, 1200 ppi	8-bit	60 MB
  JPEG derivative	8-bit	5 MB
  RAW (uncompressed)	16-bit	130 MB
  PSD (working)	16-bit	700 MB

Draft 7.1

# 1. Collection Capture & File Types

• File Formats
  • RAW = master file
  • TIFF = archival/preservation version
  • JPG = smaller, shareable access image
  • PSD = working files (temporary, not permanent)
• Camera Capture
  • Sony A7R V captures ~61 MP full-frame RAW files (~9500 × 6300 px), recording all photons hitting the sensor without in-camera processing.
    • Images may include extra margin (“gutter”) for efficiency; final crops reduce dimensions but remain large enough for high-quality prints.
  • RAW files serve as digital masters, storing full sensor data and allowing multiple reprocessing, color corrections, or resampling for prints, digital displays, or derivatives without altering the original.
    • RAWs may appear underdeveloped, can lack some metadata (e.g., orientation flags), and are not always compatible with non-photo software, but remain essential as master copies.
• FADGI Compliance
  • FADGI guidelines ensure the creation of high-quality, long-lasting digital surrogates. Images should be captured at sufficient resolution, with accurate color management, and saved as uncompressed or minimally compressed files that include proper metadata. Originals must be handled carefully, master and access copies maintained separately, and quality checks performed regularly.
  • Our workflow meets all 3-star requirements by default, and implements 4-star practices wherever higher output quality is required.

# 2. Resolution, Pixels, & Print Scaling

• DPI vs. Print
  • DPI in a RAW or TIFF (e.g., 1200 or 4400 ppi) reflects sensor capture resolution, not a fixed print requirement.
  • For print, images are resampled to match intended size and viewing distance.
    • Resampling reduces pixel density but cannot create new detail; original pixels are fixed at capture.
    • Oversampling (e.g., 4400 ppi TIFFs) is used for exhibition or print to balance storage, workflow, and scaling.
• Pixels & Megapixels
  • Pixels = total squares captured; MP = total pixels ÷ 1,000,000. Example: 8100 × 5800 px = 46.9 MP.
  • Print DPI determines pixel packing: higher DPI = crisper print, lower DPI = pixels spread out.
    • Print size calculation: divide pixel dimensions by DPI. Example: 6000 px ÷ 300 DPI = 20 in.
• High-Priority / Large Objects
  • Multiple overlapping captures on the 61 MP Sony A7R V (~9500 × 6300 px per frame) can be stitched into a single composite.
  • Stitching increases total pixel dimensions (120–180 MP+), preserving high DPI (300 ppi+) for large prints and on-screen clarity without artificial interpolation.

# 3. Image Quality & Processing

• Sensor Grain vs. Digital Noise
  • Film grain comes from chemistry; digital noise comes from sensor electronics. Both appear as speckles in low light or high ISO.
  • High-resolution sensors reveal microscopic variations invisible to older cameras or scanners.
• Denoising & Corrections
  • Noise can be reduced using software such as DxO PhotoLab 9, which handles denoising, geometric correction, and related adjustments.
  • Denoising softens edges and textures, potentially erasing fine detail; optical corrections may slightly blur or reduce fidelity.
• Post-Processing
  • Exports (including optionally denoised negatives) are further processed via batch automation (cropping, bulk JPG conversion) and manual editing in Photoshop 2025.
    • Tasks include generating digital positives, exposure adjustment, leveling, and retouching dust, scratches, or acetate defects.
    • Detailed retouching is reserved for exhibition copies or high-visibility derivatives.
    • Edited files are stored in PSD wrappers (lossless) for up to one year to allow further adjustments.

# 4. Storage, File Sizes, & DAMS

• Local Storage

  • RAWs stored via Capture One on MacOS; working files on 2 TB MacBook Pro SSD, backed up to Google Drive and a 12 TB external drive.
  • Older files, PSDs, and derivatives are also backed up on external drives.
  • For greater stability, reliability, and backup/retrieval options, we suggest moving the collection’s cloud backups to Backblaze B2. If the museum’s IT department expands, this storage could later be reconfigured for cost-effective DAMS use.

• Collection Status

  • 36 binders total; 20 flagged for digitization in August.
  • About 50% of each binder is for exhibition/catalogue; digitization prioritizes flagged objects first.
  • ~5,000 images digitized prior to August (including deteriorated nitrates/acetates).

• File Sizes & Storage Scenarios

  Format	Bit Depth	Avg File Size
  TIFF 16‑bit, 1200 ppi	16-bit	130 MB
  TIFF 16‑bit, 4400 ppi	16-bit	360 MB
  TIFF 8‑bit, 1200 ppi	8-bit	60 MB
  JPEG derivative	8-bit	5 MB
  RAW (uncompressed)	16-bit	130 MB
  PSD (working)	16-bit	700 MB

Draft 7

# 1. Collection Capture & File Types

• File Formats
  • RAW = master file
  • TIFF = archival/preservation version
  • JPG = smaller, shareable access image
  • PSD = working files (temporary, not permanent)
• Camera Capture
  • Sony A7R V captures ~61 MP full-frame RAW files (~9500 × 6300 px), recording all photons hitting the sensor without in-camera processing.
    • Images may include extra margin (“gutter”) for efficiency; final crops reduce dimensions but remain large enough for high-quality prints.
  • RAW files serve as digital masters, storing full sensor data and allowing multiple reprocessing, color corrections, or resampling for prints, digital displays, or derivatives without altering the original.
    • RAWs may appear underdeveloped, can lack some metadata (e.g., orientation flags), and are not always compatible with non-photo software, but remain essential as master copies.

# 2. Resolution, Pixels, & Print Scaling

• DPI vs. Print
  • DPI in a RAW or TIFF (e.g., 1200 or 4400 ppi) reflects sensor capture resolution, not a fixed print requirement.
  • For print, images are resampled to match intended size and viewing distance.
    • Resampling reduces pixel density but cannot create new detail; original pixels are fixed at capture.
    • Oversampling (e.g., 4400 ppi TIFFs) is used for exhibition or print to balance storage, workflow, and scaling.
• Pixels & Megapixels
  • Pixels = total squares captured; MP = total pixels ÷ 1,000,000. Example: 8100 × 5800 px = 46,980,000 px ≈ 46.9 MP.
  • Print DPI determines pixel packing: higher DPI = crisper print, lower DPI = pixels spread out.
    • Print size calculation: divide pixel dimensions by DPI. Example: 6000 px ÷ 300 DPI = 20 in.
  • Pixels are fixed; DPI determines print size. Higher-res files allow flexibility for different outputs.
• High-Priority / Large Objects
  • Multiple overlapping captures on the 61 MP Sony A7R V (~9500 × 6300 px per frame) can be stitched into a single composite.
  • Stitching two or more frames increases total pixel dimensions, raising effective megapixels to 120–180 MP or more.
  • Preserves high DPI (300 ppi+) for large prints while maintaining fine detail and on-screen clarity, without artificial interpolation.

# 3. Image Quality & Processing

• Sensor Grain vs. Digital Noise
  • Film grain comes from chemistry; digital noise comes from sensor electronics. Both appear as speckles in low light or high ISO.
  • High-resolution sensors reveal microscopic variations invisible to older cameras or scanners.
• Denoising & Corrections
  • Noise can be reduced using software such as DxO PhotoLab 9, which handles denoising, geometric correction, and related adjustments.
  • Denoising softens edges and textures, potentially erasing fine detail; optical corrections may slightly blur or reduce fidelity.
• Post-Processing
  • Exports (including optionally denoised negatives) are further processed via batch automation (cropping, bulk JPG conversion) and manual editing in Photoshop 2025.
    • Tasks include generating digital positives, exposure adjustment, leveling, and retouching dust, scratches, or acetate defects.
    • Detailed retouching is reserved for exhibition copies or high-visibility derivatives.
    • Edited files are stored in PSD wrappers (lossless) for up to one year to allow further adjustments.

# 4. Storage, File Sizes, & DAMS

• Local Storage

  • RAWs stored via Capture One on MacOS; working files on 2 TB MacBook Pro SSD, backed up to Google Drive and a 12 TB external drive.
  • Older files, PSDs, and derivatives are also backed up on external drives.
  • For greater stability, reliability, and backup/retrieval options, collection cloud backups are suggested to move to Backblaze B2. If the museum’s IT department expands, this storage could later be reconfigured for cost-effective DAMS use.

• Collection Status

  • 36 binders total; 20 flagged for digitization in August.
  • About 50% of each binder is for exhibition/catalogue; digitization prioritizes flagged objects first.
  • ~5,000 images digitized prior to August (including deteriorated nitrates/acetates).

• File Sizes & Storage Scenarios

  Format	Bit Depth	Avg File Size
  TIFF 16‑bit, 1200 ppi	16-bit	130 MB
  TIFF 16‑bit, 4400 ppi	16-bit	360 MB
  TIFF 8‑bit, 1200 ppi	8-bit	60 MB
  JPEG derivative	8-bit	5 MB
  RAW (uncompressed)	16-bit	130 MB
  PSD (working)	16-bit	700 MB

  ---

  # 5. Pics.io DAMS & AI Tools

  • Primary Cloud DAMS
    • Pics.io serves as the main cloud DAMS, providing controlled, role-based access, curated public sharing, and search across metadata, keywords, and full-text content.
    • Stores TIFF masters and generates JPG derivatives on demand, supports batch ingest, bulk metadata updates, custom fields, and full version tracking.
    • Likely links to TMS so one record ties the entire collection to Pics.io.
  • AI-Driven Tasks (Credit-Based)
    • Automatic generation of detailed object descriptions and keywords (e.g., “woman,” “portrait,” “wedding,” “bouquet”).
    • OCR and audio/video transcription: reads text within images and makes it searchable.
    • Facial recognition: tagging and grouping images of the same person.
    • Intelligent descriptive search: allows natural-language queries to locate images.
      • Could upload images outside the Hooks collection to train recognition for certain figures.
    • Caveat: AI outputs may require manual review and correction to ensure accuracy and proper metadata assignment.

  ---

  # 6. Additional / Optional Tasks

  • Naming Conventions

    • e.g., “N” for nitrate, “P” for prints, “r/v” suffix for recto/verso, etc.

  • Outside Contractors and Interns

  • Flattening Methods

    Method	Pros	Cons
    Platen	Flattens curved originals, consistent capture	Risk of Newton rings, pressure damage
    Vacuum Table	Gentle flattening, good for film & prints	Expensive, suction risk to fragile items
    Post-Processing	No physical contact, quick correction	Can blur, loses authenticity from artificial distortion

Draft 8

# 1. Collection Capture & File Types

• File Formats
  • RAW = master file
  • TIFFs = archival/preservation versions
  • JPGs = smaller, shareable access images
  • PSDs = working files (not permanent)
• Camera Capture
  • The Sony A7R V captures ~61 MP full-frame RAW files (~9500 × 6300 pixels), recording all photons hitting the sensor without in-camera processing.
    • Images are captured with a “gutter” for efficiency; final crops may reduce dimensions slightly but still remain large enough for high-quality prints.
  • RAW files serve as digital masters, storing full sensor data and allowing images to be reprocessed, color-corrected, or resampled multiple times for prints, digital displays, or derivative outputs, without altering the original.
    • RAW files may look underdeveloped, can lack certain metadata (e.g., portrait/landscape orientation), and are often incompatible with non-photo software, but are essential as master copies.
• FADGI Standards
  • FADGI provides guidelines for digitizing cultural heritage materials to ensure high-quality, long-lasting digital surrogates.
  • Practices include capturing at sufficient resolution, using accurate color management, saving in uncompressed or minimally compressed formats with proper metadata, and careful handling of originals.
  • Our workflow produces master files separate from access copies, includes quality checks, and routinely meets 3-star requirements, implementing 4-star practices where necessary.

# 2. Resolution, Pixels, & Print Scaling

• DPI vs. Print
  • The DPI in a RAW or TIFF (e.g., 1200 or 4400 ppi) reflects the sensor’s capture resolution, not a fixed print requirement.
  • For print, images are resampled to match the intended size and viewing distance.
    • Resampling lowers pixel density but does not create new detail; original pixels are fixed at capture.
    • Oversampling (e.g., 4400 ppi TIFFs) is used for exhibition or print to balance storage, workflow, and scaling.
• Pixels & Megapixels
  • Pixels = total squares captured; MP = total pixels ÷ 1,000,000. Example: 8100 × 5800 px = 46,980,000 px ≈ 46.9 MP.
  • Print DPI determines how tightly pixels are packed: higher DPI = crisper print; lower DPI = pixels spread out.
    • To calculate print size: divide pixel dimensions by print DPI. Example: 6000 px ÷ 300 DPI = 20 inches wide.
  • Pixels are fixed; DPI determines print size. Higher-res files allow flexibility for different outputs.
• High-Priority or Large Objects
  • For very large or high-priority objects, multiple overlapping captures on the 61 MP Sony A7R V (~9500 × 6300 px per frame) can be digitally stitched into a single composite.
  • Stitching two or more frames increases total pixel dimensions, raising effective megapixels to 120–180 MP or more.
  • This preserves high DPI (300 ppi+) for large prints while maintaining fine detail and on-screen clarity, without artificial interpolation.

# 3. Image Quality & Processing

• Sensor Grain vs. Digital Noise
  • Film grain originates from the chemical process of film; digital noise comes from the camera sensor electronics. Both appear as speckles in low light or high sensitivity settings.
  • Very high-resolution sensors reveal microscopic variations even when originals look smooth, capturing details invisible to older cameras or scanners.
• Noise Reduction & Corrections
  • Noise can be reduced using software such as DxO PhotoLab 9, which performs denoising, correction for warped or curved images, and related adjustments.
  • Denoising softens edges and textures, which can erase small details. Optical corrections may slightly blur or reduce fidelity.
• Post-Processing
  • Exported prints and optionally denoised negatives are further adjusted via batch automation (cropping, bulk JPG conversion) and manual editing in Adobe Photoshop 2025.
    • Tasks include generating digital positives from negatives, fine-tuning exposure, leveling, and retouching dust, scratches, or bubbling in acetate.
    • Detailed retouching is reserved for exhibition copies or high-visibility derivatives.
    • Edited files are kept in PSD wrappers (lossless) to allow further adjustments and are retained for one year.

# 4. Storage, File Sizes, & DAMS

• Local Storage

  • RAW files are automatically stored on MacOS via Capture One. Working files are kept on a 2 TB MacBook Pro SSD, backed up to MBMA’s Google Drive account and a 12 TB external Western Digital drive.
  • Older files, PSDs, and derivatives are also backed up on external drives.
  • For increased stability and reliability, and more robust backup and retrieval options, moving cloud backups to Backblaze B2 is suggested. If the museum IT expands, this could be reconfigured for cost-effective DAMS storage.

• Collection Status

  • 36 binders total; 20 binders flagged for digitization in August.
  • About 50% of each binder is flagged for exhibition or catalogue; digitization focuses on flagged objects first.
  • Approximately 5,000 images were digitized prior to these 20 binders, including deteriorated nitrates and acetates.

• File Sizes & Storage Scenarios

  Format	Bit Depth	Average File Size
  TIFF 16‑bit, 1200 ppi	16-bit	130 MB
  TIFF 16‑bit, 4400 ppi	16-bit	360 MB
  TIFF 8‑bit, 1200 ppi	8-bit	60 MB
  JPEG derivative	8-bit	5 MB
  Uncompressed RAW	16-bit	130 MB
  PSD (working file)	16-bit	700 MB

• DAMS Storage Scenarios

  Number of Images	16-bit 1200 ppi TIFF	16-bit 4400 ppi TIFF	8-bit 1200 ppi TIFF	RAW	JPEG
  1,000	130 GB	360 GB	60 GB	130 GB	5 GB
  50,000	6.5 TB	18 TB	3 TB	6.5 TB	250 GB
  ~187,500	9.75 TB	27 TB	4.5 TB	9.75 TB	375 GB

  • Storage costs rise as digitization progresses. External drives incur recurring replacement costs.
  • Suggested stratification: all RAWs retained; select objects receive oversampled TIFFs for print or stitched composites. Priority objects get full-resolution archival TIFFs; less-critical images may be saved as 8-bit TIFF or 300 DPI for research/discovery use.
  • Versos saved selectively, e.g., only the negative copy of a verso as 8-bit TIFF or at 300 DPI.

# 5. Pics.io DAMS & AI Tools

• Primary Cloud DAMS
  • Pics.io serves as the main cloud DAMS, providing controlled, role-based access, curated public sharing, and search across metadata, keywords, and full-text content.
  • Stores TIFF masters and generates JPG derivatives on demand, supports batch ingest, bulk metadata updates, custom fields, and full version tracking.
  • One TMS record likely links the entire collection to Pics.io.
• AI-Driven Tasks
  • Automatic generation of detailed object descriptions and keywords (e.g., “woman,” “portrait,” “wedding,” “bouquet”).
  • OCR and audio/video transcription, reading text within images to make it searchable.
  • Facial recognition, tagging and grouping images of the same person.
  • Intelligent descriptive search for natural-language queries; could upload external images to train recognition of certain figures.
  • Caveat: AI outputs may require manual review and correction to ensure accuracy and proper metadata assignment.

# 6. Additional Agenda Items

• Naming Conventions

  • e.g., “N” for nitrate, “P” for prints, “r/v” suffix for recto/verso, etc.

• Outside Contractors and Interns

• Object Flattening

  Method	Pros	Cons
  Platen	Flattens curved originals, consistent capture	Risk of Newton rings, pressure damage
  Vacuum Table	Gentle flattening, good for film & prints	Expensive, suction risk to fragile items
  Post-Processing	No physical contact, quick correction	Can blur, loses authenticity from artificial distortion

Draft 9

Here’s Draft 8 with Draft 7 headers and full fidelity to Draft 5 bullets and content:

# 1. Collection Capture & File Types

• Camera & RAW Capture
  • File formats relevant to the Hooks Brothers Collection include:
    • RAW = master file
    • TIFFs = archival/preservation versions
    • JPGs = smaller, shareable access images
    • PSDs = working files (not permanent)
  • The Sony A7R V captures ~61 MP full-frame RAW files (~9500 × 6300 pixels), recording all photons hitting the sensor without in-camera processing.
    • Images are captured with margin for efficiency; final crops can reduce dimensions at times but are still large enough for high-quality prints.
  • RAW files act as digital masters: they store full sensor data, allowing images to be reprocessed, color-corrected, or resampled multiple times for different outputs (prints, digital displays, derivatives) while maintaining maximum quality.
    • RAW files contain everything the camera captured and give the most flexibility for later editing. RAWs may appear underdeveloped, can lack some metadata (e.g., orientation flags), and are not always compatible with non-photo software, but remain essential as master copies.
• FADGI sets standards for digitizing cultural heritage materials to ensure high-quality, long-lasting digital surrogates. Key guidelines include capturing images at sufficient resolution, using accurate color management, saving in uncompressed or minimally compressed formats with proper metadata, and handling originals carefully. Workflows should produce master files separate from access copies, include quality checks, and follow best practices for storage and preservation.
  • Our workflow meets these by capturing at high resolution, using calibrated tools, and keeping RAW + TIFF masters. By default, the workflow hits all 3-star requirements and routinely implements 4-star practices where necessary for output quality.

# 2. Resolution, Pixels, & Print Scaling

• On-Screen vs Print DPI
  • The “DPI” in a RAW or TIFF (e.g., 1200 or 4400 ppi) reflects the sensor’s capture resolution—how many pixels per inch were recorded—not a fixed print requirement.
  • For print, images are resampled to match the intended size and viewing distance.
    • Resampling lowers pixel density without creating new pixels—you cannot invent detail, only interpolate or average existing ones. The number of original pixels is fixed at capture, so larger prints cannot contain more true detail than captured. High-res captures allow large prints while retaining visual fidelity.
    • Oversampling (e.g., 4400 ppi TIFFs) is used for print or exhibition to balance storage, workflow, and scaling.
• Pixels & Megapixels
  • Pixels = total squares captured; MP = total pixels ÷ 1,000,000. Example: 8100 × 5800 px = 46,980,000 px ≈ 46.9 MP.
  • Print DPI determines how tightly pixels are packed: more DPI = crisper print; less DPI = pixels spread out.
    • To calculate print size: divide pixel dimensions by print DPI. Example: 6000 px ÷ 300 DPI = 20 inches wide.
    • Pixels are fixed; DPI determines print size. Higher-res files allow flexibility for different outputs.
• High-Priority or Large Objects
  • For high-priority or very large objects, multiple overlapping captures on the 61 MP Sony A7R V (~9500 × 6300 px per frame) can be digitally “stitched” together into a single composite.
  • Stitching two or more frames increases total pixel dimensions, raising effective megapixels to 120–180 MP or more.
  • This preserves high DPI (300 ppi+) for large prints while maintaining fine detail and on-screen clarity, without artificial interpolation.

# 3. Image Quality & Processing

• Sensor Grain vs Digital Noise
  • Film grain comes from the chemistry of film; digital noise comes from the electronics in the camera sensor. Both show up as speckles in low light or high sensitivity settings.
  • Noise or grain is what the sensor actually “sees”—tiny variations in light, photon arrival, and sensor electronics. Historically, grain was the chemical texture in film emulsions; now it’s a digital analogue—the sensor’s finest response to light. Even if a glass plate negative looks smooth, the sensor records microscopic variations. Very high-resolution sensors make this visible in ways earlier cameras or scanners did not.
• Denoising & Corrections
  • Noise can be artificially reduced via software such as DxO PhotoLab 9, which handles denoising, correcting warped or curved images, and related adjustments.
  • These techniques have their own shortcomings; denoising works by “softening” edges and textures within an image, potentially erasing small details. Optical corrections may slightly blur or reduce fidelity.
• Post-Processing
  • Exported prints and (optionally denoised) negatives are further adjusted via automation (batch cropping, bulk JPG conversion) and manual post-processing in Adobe Photoshop 2025.
    • Tasks include generating digital positives, exposure adjustment, leveling, and retouching dust, scratches, bubbling in the acetate, etc.
    • More detailed and extensive retouching is reserved for exhibition copies or high-visibility derivatives.
    • Edited files are kept in a Photoshop “wrapper” (PSD) that is lossless, to facilitate any further adjustments. PSDs are retained for 1 year after creation.

# 4. Storage, File Sizes, & DAMS

• Local Storage

  • All RAW files are automatically stored on MacOS drive via Capture One. Working files are kept on local MacBook Pro 2TB SSD, currently backed up to MBMA’s Google Drive account and an external Western Digital 12TB drive. Google Drive and WD Passport external drives also back up older files, PSDs, and any derivatives and copies.
  • For increased stability, reliability, and more robust backup and retrieval options, suggest moving collection cloud backups to Backblaze B2. If the museum’s IT department expands, this backup storage could later be reconfigured for cost-effective DAMS use.

• Collection Status

  • There are 36 binders, with 20 flagged for digitization in August.
  • About 50% of each binder is flagged for exhibition or catalogue. Digitization focuses first on flagged objects in those 20 binders.
  • Approximately 5,000 images were digitized (including deteriorated nitrates/acetates) prior to the August batch.

• File Sizes & Storage Scenarios

  Format	Bit Depth	Average File Size
  TIFF 16‑bit, 1200 ppi	16-bit	130 MB
  TIFF 16‑bit, 4400 ppi	16-bit	360 MB
  TIFF 8‑bit, 1200 ppi	8-bit	60 MB
  JPEG derivative	8-bit	5 MB
  Uncompressed RAW	16 bit	130 MB
  PSD (working file)	16-bit	700 MB

  Number of Images	16-bit 1200 ppi TIFF	16-bit 4400 ppi TIFF	8-bit 1200 ppi TIFF	RAW	JPEG
  1,000	130 GB	360 GB	60 GB	130 GB	5 GB
  50,000	6.5 TB	18 TB	3 TB	6.5 TB	250 GB
  ~187,500	9.75 TB	27 TB	4.5 TB	9.75 TB	375 GB

  • Storage costs rise as the collection grows. Costs of external drives recur as old drives are occasionally replaced.
  • Suggested stratification of images stored per object: all RAWs are retained.
    • Select objects receive oversampled TIFFs for print or may be stitched together. Priority objects get full-resolution archival TIFFs.
    • Less-critical images may be saved as 8-bit TIFFs or at 300 DPI for research/reference “discovery” versions.
    • Versos saved selectively, e.g., only the negative copy of a verso as an 8-bit TIFF or 300 DPI.

• Pics.io DAMS

  • Pics.io serves as the primary cloud DAMS, providing controlled, role-based access, curated public sharing, and search across metadata, keywords, and full-text content.
  • Stores TIFF masters and generates JPG derivatives on demand, supports batch ingest, bulk metadata updates, custom fields, and full version tracking.
  • One TMS record likely links the entire collection to Pics.io.

• AI-Driven Tasks (Credit-Based)

  • Automatic generation of detailed object descriptions and keywords (e.g., “woman,” “portrait,” “wedding,” “bouquet”).
  • OCR and audio/video transcription to make text searchable.
  • Facial recognition to tag and group images of the same person.
  • Intelligent descriptive search: allows natural-language queries to find images.
    • Could upload images outside the Hooks collection to train recognition for certain figures.
  • Caveat: AI outputs may require manual review and correction to ensure accuracy and proper metadata assignment.

# 5. Additional / Optional Tasks

• Naming Conventions

  • e.g., “N” for nitrate, “P” for prints, “r/v” suffix for recto/verso, etc.

• Outside Contractors and Interns

• Flattening Approaches

  Method	Pros	Cons
  Platen	Flattens curved originals, consistent capture	Risk of Newton rings, pressure damage
  Vacuum Table	Gentle flattening, good for film & prints	Expensive, suction risk to fragile items
  Post-Processing	No physical contact, quick correction	Can blur, loses authenticity from artificial distortion

This keeps Draft 5 bullet fidelity, uses Draft 7 header names, and only edits phrasing for clarity/readability.

Do you want me to bold the sub-section headers like “Camera & RAW Capture” and “Pixels & Megapixels” throughout to fully match Draft 7 style?

Yes—I can do that. I’ll bold all sub-section headers so the style fully matches Draft 7 while keeping the Draft 5 bullets and content intact.