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Special Bulletin #3: Conservation Practices for Slide and Photograph Collections
No full textSlides:
I. When to Conserve: A Guide to Slides Deserving Special Care
II. Moisture Control through Slide Mounting
III. De Laurier Bindmaster - A Homemade Slide Binder for the "Sundt" Method
IV. Fungus in Glass-Mounted Slides: Recent Findings
V. How to Mask a Slide without Taping the Film
VI. Foggy Glass - Your Fault or Theirs?
VII. Film Cleaners, Glass Polishers, and Other Wonder Products
VIII. How to Avoid Chemical Streaking on Film
IX. Transparencies in Paper Mounts: Maintaining a Slide Collection without the Benefits of Glass
X. Polaroid Recommends Gold Protective Treatment with Its Autoprocess 35mm Transparency Images
XI. Seasonal Check-Ups for Slide Room Equipment
XII. Relative Humidity: Instruments and Products for Measurement and Control
XIII. Temperature Fluctuations in the Slide Storage Area - How Concerned Should We Be?
XIV. Projectors - Troubleshooting Problems
XV. Light vs. Heat - Is There a Lesser Evil?
XVI. Running the Lamp Fan - Necessary or Excessive?
XVII. Flourescent Lamps and Color Slides
XVIII. Re-Evaluating Your Insurance Coverage
Photographs:
I. Resin-Coated Paper: Potential Problems for Collections?
II. Hypo Eliminator: To Use or Not to Use
VRAB Volume 9: Issue 2, 1982
No full textIn this issue:
Conferences to Come
MACAA
ARLIS
Profile:
The National Gallery of Art, Washington, D.C.
Canadian News: UAAC in Calgary
MACAA Consulting Service
Classification of Slide Collections with Microprocessors: A Two-Day Seminar
Visual Resources Organization Plebiscite
Further Clarification
Status of the Bulletin Re: A New VR Organization
Microforms
Introduction to Videodisc Technology
Ask the Photographer
Reproducing Greens
"Slide Librarianship and Preservation"
Archival Conservation
Conservation
Relative Humidity: Instruments and Products for Measurement and Control
Send Me Your Fungus (Slides, That Is!)
Duplicating Slides for Student Study: Survey Report
Comparative Cataloging
Advanced Studies in Visual Resources
Preservation of Historic Black and White Photographic Materials
Participate!
UMKC Workshops
Aldehyde Fume Damage
Polaroid to Market a Slide Film
Photographic Journals
Positions Open
Personal Notes about Slide Curators
Slide Market News
Perrot Color Mounts Still Available
Prints from Slides
Starting from Scratch
International Seminar on Information Problems in Art History
CAA
Call for Papers
Bulletin Material for Fall
Academic Slide Budget Surve
VRAB Volume 6: Issue 1, 1979
No full textThis issue, mislabeled as Volume 6, Number 4, continues conference reporting from the previous issue. Following a note from the MA-CAA Visual Resources Chair are guide updates, notes about conferences to come, a profile of the Cincinnati Art Museum Slide Collection, and an extensive section on professional news. The inaugural column "Ask the Photographer" (on slide photography by Patrick Young) is followed by slide market news, photograph market news, want ads, and subscription details
2020 VRA State of the Association Address
No full textDuring the remote 2020 Annual Business Meeting of the Visual Resources Association, the president highlighted the accomplishments and challenges of the Association in a state of the association presentation. This article provides the transcript and additional details
The Unexplored Ethics of Copywork Image Manipulation
No full textAlthough copywork is a common practice in the field of visual resources, there is little information on the ethical considerations of altering images digitized from books or articles. What state of the original should the final digital surrogate replicate – how the artwork appears in person or how the image in the publication appears? Does this change when the purpose of the image is documentary rather than artistic? Using as a basis Franziska Frey and James Reilly’s four stages of digitizing and restoring photographs, I explore the ethical implications inherent in digitizing and altering images without possessing the original artifact or artwork, as well as discuss the importance of considering one’s audience and their level of visual literacy.
Acknowledgements:
Amy would like to thank Lael J. Ensor-Bennett for her work on the issue of copywork and suggesting the idea that turned into this paper, as well as Marian Lambers for her discussion of this topic with the author
Stereographs on Your Smartphone
No full textMany stereograph collections have been digitized and are now available online. The means to view them in stereo however may not be readily available for a general audience. Working with some filename modifications, the Stereogranimator website from NYPL Labs, and a handful of different smartphone apps, viewing stereographs digitally in three dimensions is now possible. Students of visual materials, the history of photography, and other online researchers can now view the stereographs as the medium was originally intended to be viewed
2018 VRA State of the Association Address
No full textDuring the 2018 Annual Business Meeting of the Visual Resources Association in Philadelphia, Pennsylvania, the president highlighted the accomplishments and challenges of the Association in a state of the association presentation. This article provides the transcript
Visual Resources Association Treasurer's 2018 Report
No full textThe 2018 Treasurer's Report was presented at the Annual Membership & Business Meeting at the VRA2018 conference in Philadelphia on March 28, 2018. It outlines the previous year's budget activity as well as steps taken to secure the Visual Resources Association's investments and financial future
Costume Core: Metadata for Historic Clothing
No full textillustrations, photographs, and other related materials. Where collection managers follow existing standards, they often interpret them in different ways, and need specific guidelines for greater cross-collection consistency. To better represent significant aspects of historic clothing, catalogers must collect additional metadata. Defining and populating granular fields will allow records to be sorted and filtered in ways specific to the needs of costume history researchers and can even enable the use of visual search tools. Experiments along these lines have led to the development of Costume Core: an application profile to provide guidance for using existing metadata schemas and controlled vocabularies to fill in the gaps with added metadata elements and vocabulary terms. Costume Core can be used not only in the development of new digital collections, but also to remediate existing datasets. This project initially grew out of work to develop a digital collection of the artifacts in the Vassar College Costume Collection. An inter-institutional project called Historic Dress, at HistoricDress.org, has fostered further testing. To make this project’s workflow more convenient and efficient across a wider range of institutions with holdings of historic clothing, a visual cataloging tool and thesaurus are being developed at DressDiscover.org.
Acknolwedgements:
Work on Costume Core has been the result of conversations and collaboration over 20 years with costume historians, students, librarians, instructional technologists, digital humanities practitioners, and computer scientists. At Vassar: Holly Hummel, Ginny Jones, Sarah Goldstein, Matthew Slaats, Joanna DiPasquale, Kenisha Kelly. For HistoricDress: Kiki Smith, Elisa Lanzi, Marla Miller, Nancy Rexford, Jon Berndt Olsen, Tom Scheinfeldt, Matthew Mattingly, Dave Hart. My mentors for digital libraries: Michael Lesk, Jian Qin, Marcia Lei Zeng, and Susan Jane Williams. From the costume history community (mainly through the Costume Society of America and Dig-Cost-Coll online discussion group): Kathi Martin, Gayle Strege, Marlise Schoeny, Helen McLallen, Arlesa Shephard, Kristen Miller Zohn, Renee Walker-Tuttle, Lindie Ward, Marcella Martin, Amanda Sikarskie, Connie Frisbie Houde, Daniel Caulfield-Sriklad, Monica Sklar, Ykje Wildenborg
What Not to Embed: is it better not to embed certain cultural heritage metadata in images?
No full textWhile many people agree that embedding descriptive metadata in image files, there is a lot of disagreement about how much of it to embed, particularly when it comes to images of cultural heritage works. The "embed everything you know" camp see more value in having flawed metadata than no metadata. The "embed only metadata that never changes" camp see too much risk in passing along data that is apt to change due to scholarly review. This article joins the debate and presents arguments for joining the "embed everything you know" camp