PRELIMINARY PROGRAM Archiving2010 · 2017-04-17 · TableofContents June1-4 •DenHaag,theNetherlands GeneralCo-chairs SimonTanner King’sCollegeLondon [email protected] AstridVerheusen

PRELIMINARYPROGRAM

Sponsored bySociety for Imaging Science and Technology

imaging.org

www.imaging.org/ist/conferences/archiving/index.cfm

June 1-4, 2010Koninklijke Bibliotheek

Den Haag, the Netherlands

Archiving2010Archiving2010

General Co-chairs:Simon Tanner, King’s College LondonAstrid Verheusen, Koninklijke Bibliotheek

In cooperation with

ALA ALCTS Association for Library Collections and Technical Services

CNI Coalition for Networked Information

IOP/Printing & Graphics Science Group

ISCC Inter-Society Color Council

MCN Museum Computer Network

OCLC Online Computer Library Center

RPS The Royal Photographic Society of Great Britain

SAA Society of American Archivists

IS&T

Phot

o:Su

zann

eG

rinna

n.

Table of Contents

June 1-4 • Den Haag, the Netherlands

General Co-chairsSimon TannerKing’s College [email protected]

Astrid VerheusenKoninklijke [email protected]

Program Co-chairsRobert HortonMinnesota Historical [email protected]

Kate ZwaardUS Government Printing [email protected]

Short Course ChairW. Scott GeffertCenter for Digital Imaging [email protected]

Local Arrangements ChairFrédérique VijftigschildKoninklijke [email protected]

Technical Program CommitteeStephen AbramsCalifornia Digital Library

Reinhard AltenhoenerGerman National Library

Maria GuercioUniversity of Urbino

Hans HofmanNationaal Archief Netherlands

Cathy MarshallMicrosoft Corporation

Phil MichelUS Library of Congress

Erik LandsbergMuseum of Modern Art

Stephanie Ogeneski ChristensenNational AnthropologicalArchives, Smithsonian Institute

Steve PugliaUS National Archives andRecords Administration

Judith RogKoninklijke Bibliotheek

Larry TelfordFamilySearch

Manfred ThallerUniversität Zu Köln

Steering CommitteeRobert R. Buckley, XeroxCorporationFranziska Frey, Rochester Instituteof TechnologySuzanne E. Grinnan, IS&TRobert Horton, MinnesotaHistorical SocietyWilliam G. LeFurgy, US Libraryof CongressSimon Tanner, King’s CollegeLondonAstrid Verheusen, KoninklijkeBibliotheek/National Library ofthe Netherlands

IS&T Conference OrganizationAlan Hodgson (3M Security Print-ing & Systems Ltd.), ConferenceVice PresidentSuzanne E. Grinnan,Executive DirectorDiana Gonzalez,Conference Program Manager

Conference Committee

©2010 Society for Imaging Science and Technology (IS&T).

Conference Overview . . . . . . . . . . . . . . 1

Conference At-a-Glance . . . . . . . . . . . . 1

Venue . . . . . . . . . . . . . . . . . . . . . . . . . 2

Behind-the-Scenes Tours . . . . . . . . . . . . . 3

Short Course Program . . . . . . . . . . . . . . 4

Short Courses At-a-Glance . . . . . . . . . . . 5

Technical Program . . . . . . . . . . . . . . . 14

Accommodation Information . . . . . . . . 17

Conference Registration . . . . . . . . . . . 18

SponsorsIS&T thanks the

Koninklijke Bibliotheek/National Library of the

Netherlandsand

MAM-Afor their support of Archiving

2010.

Archiving 2010

1

Conference OverviewArchiving 2010 will take place at the Koninklijke Bibliotheek (KB) near the Centraaltrain station in downtown Den Haag (see p. 2). The library provides a modern andwelcoming environment in which to share research, meet colleagues from around theworld, and learn about ways to collect, enhance, preserve, and share irreplacablecollections. A social program that allows for networking in culturally interesting andenjoyable venues has been planned to complement the week, which caps off with theperenially-popular Behind-the-Scenes-Tours.

Hightlights of this year’s program include:

• A special half-day short course focused on international standards from capture tooutput followed by a number of new classes that complement this course.

• Many new short courses designed specifically to meet the needs of the EuropeanArchiving Community. See page 4 for details on all courses offered.

• Two and one-half days of technical sessions, including three timely keynotes and anInteractive Paper Session; a listing of the full program begins on page 14.

• Fascinating behind-the-scene tours of some of the Netherlands most important andtreasured cultural institutions.

We hope you will join us for this exciting week and look forward to seeing you in June!

—Simon Tanner and Astrid Verheusen, General Co-chairs

Conference At-a-GlanceAll technical sessions will take place at the Koninklijke Bibliotheek (KB)

Registration HoursTuesday, June 1, 7.30 – 17.00 Wednesday, June 2, 7.30 – 17.15

Thursday, June 3, 8.00 – 17.00 Friday, June 4, 8.00 – 11.30

Tuesday, June 1• Short Course Program (see p. 4)• Welcome Reception: Escher Museum

Wednesday, June 2• Keynote by Bas Savenije, General

Director, Koninklijke Bibliotheek:Access to Digital Collections: Towarda National Infrastructure

• Technical Session: Digital Collections• Conference Reception: Fotomuseum

Thursday, June 3• Keynote: William Kilbride, Executive

Director, Digital Preservation Coalition:Digital Preservation in Byte-sizedChunks: Good Practice, Best Practice,

and Why We Should be Careful WhatWe Ask For

• Exhibit of Digital Archiving Productsand Services

• Technical Session: Capture, Imaging,and Workflow

• Interactive Paper Session

Friday, June 4• Keynote: Martin Jürgens, photograph

conservator and recipient of the 2010HP Image Permanence Award: What Is(and What Isn’t) A Photograph Today?

• Technical Session: Access Strategies,and File Formats

• Behind-the-Scenes Tours (see p. 3)

Venue: Den HaagThe cultural capital of the Netherlandsand seat of the national government,Den Haag (The Hague) is the venue forArchiving 2010. The conference willtake place at the Koninklijke Bibliotheek(KB), the National Library of the Nether-lands (#2 below), which is situated onthe edge of the historic downtown areaand adjacent to the main train station.

A lovely and charming city, Den Haag

offers a wide variety of lodging andrestaurant options, plus museums show-casing famous works such as Vermeer’sThe Girl with the Pearl Earring (Maurits-huis museum), Mondrian’s BroadwayBoogie Woogie (Gemeentemuseum),and many original works by Escher.

The Welcome Reception will take placeat Escher in het Palais (Escher Museum),which is housed in the Lange Voorhout

PRINS BERNHARDVIADUCT

SPUI

VELDTOURNOOI-

SCHEDELDOEKSHAVEN

PR.WILLEM ALEX. W

TAAR

TSNJI

R

SCHEDELDOEKSHAVEN

LEKSTR

LAM

GR

OEN

NIEU

WE

HA HEKKELAANNIEUWE HAVEN-

DWARSSTR

TURFMARKT

VA

NN

A.V

AN

NA

.VA

NN

A.

BU

EREN

STR.

BU

EREN

STR.

BU

EREN

STR.

GROENZUIDWAL

RDERSTR.

LSTR.

HERDERSTR.

OOG IN 'TZEILSTR.

KATERSTR.

ROZEMARIJN-STR.

DOUBLETSTR.

RIET-

VELT-STR

.LO

OYER

-STR

.

DUNNE

STRAAT

WA

GEN

STRA

AT

WAG

ENSTR

PAVILJOEN

SGRA

CHT

LUTH

.BURG

WAL

NDE

JAN

HEN

DR

IKST

R.

KT

GROTEMARKT

LAAN

EST

EKSTR.

-STR

.

TOR

EN-

STRA

AT

KORTE

MOLEN-STR.

JUFFR.IDASTRAAT

MOLEN- STRAAT

NOBEL- STRAAT PAPESTR.

RIVIERVISMARKT DAG. GROENMARKT

SCH

OO

LSTR

.

NO

OR

DEI

ND

E

HARTOGSTR.

HEULSTR.

.RTSESNIRP

PRINSESTR.

HOOG

STRA

AT

PALEIS-

ST

BOORLAAN

KOEKAMPLAAN BOSLA

AN

KONINGS-TUNNEL

KONINGS-TUNNEL

BLEEK

-VELD

SRET

IUL

SM

OOB

GEWE

TRA

WZ

P.

BOTH STRAAT

AMMUNITIEHAVEN

PLEIN

RSTR.

BO

EKH

OR

ST-

STR

AAT

NWE MOLSTRAAT

STILLE VEERKADE

GEDEMPTE BURGWAL GEDEMPTE GRACHT

ST. JACOB-

AMSTERDAMSE VEERKADENWE MOLSTRAAT

VEEN

STR

AAT

VLAMINGSTRAAT

BUITENHOF

KO

NIN

GS-

KA

DE

KAZERNE- STRAATSM

IDSW

ATER

NIEUWEUITLEG

KANONSTR.

KORTE VOORHOUT

HOGENIEUWSTRAATLANGE VIJVERBERG

LAN

GE

VOO

RH

OU

T

LAN

GE

HO

UTS

TR.

KO

RTE

VIJV

ERB

ERG

LANGE POTEN KORTE POTEN

HERENGRACHT

BLEIJEN

BU

RG

CASUARIESTRAAT

HERENSTR.

KOE- DIE

FSTR

.

KO

RTE

HO

UTS

TR.

FLU

WEL

ENBU

RGW

AL

KALVERMARKT GEW

ETR

AWZ

THC

ARGE

SSES

NIRP

VOS

INTU

INST

RA

AT

KN

EUTE

RD

IJK

HOFWEG

SPUISTRAAT

GROTE MARKTSTRAAT

BEZEM

STR.

WAGENSTRAAT

AC

HTER

.RTS

MA

AR

BIER

STRA

AAAR

TSE

NAR

K

BEZUIDENHOUTSEWEG

LANGE VOORHOUT

ZUIDHOLLAND LAASPU

I

NIE

UW

KoninklijkeAcademie

v. BeeldendeKunsten

Ministeries vanBinnenlandse

Zaken enJustitie

Ministerie vanDefensie

Kon.Bibliotheek

MuziekTheater

GroteKerk

Ministerievan

VROM

Theater aan het Spui

Gevangen-poort

ZwarteMadonna

Markthof

Maurits-huis

NieuweKerk

Stadhuis

Passage

Ministerie vanFinanciën

PaleisNoordeinde

Binnenhof

Hofvijver

Koekamp

Ministerievan

BuitenlandseZaken

CentraalStation

Malieveld

Rijks-archief

aardvanroje

Bredius

Diligentia

WinkelcentrumBabylon

KoninklijkeSchouwburg

Paleis-tuinen

A

B

C

1 2

3

D

eVeNTS/LOCATIONS

1 Central Den Haag Train StationKoningin Julianaplein 10

2 Koninklijke BibliotheekPrins Willem-Alexanderhof 5; www.kb.nl/Conference Program

3 Escher in het Paleis (Escher Museum)Lange Voorhout 74; www.escherinhetpaleis.nl/Welcome Reception

4 FotomuseumStadhouderslaan 43 (bus 24 or tram 17);www.fotomuseumdenhaag.nlConference Reception

HOTeLS(see page 17 for details)

A Ibis Den Haag City Center HotelB Mercure Hotel Den Haag CentralC eden Babylon HotelD Parkhotele Steigenberger KURHAUS Hotel

4 e

2


Palace, a building that has been ownedby the Royal Family for almost 100years. The Conference Reception willtake place at the Fotomuseum, a shorttram ride from the KB.

Den Haag is situated on the AtlanticOcean and a short tram ride takes youdown streets lined with beautiful man-sions and embassies, past the WorldCourt, to the sands of Scheveningen.Walk the boardwalk and discover aplethora of beach-front restaurants fea-turing cuisines of the world served indramatically-appointed and themed ven-ues. The mile or so of dining establish-ments is erected each year in the Springand disassembled in the Fall.

Den Haag is located less than one hour(~50 minutes) by direct train from bothAmsterdam’s Schipol Airport (AMS) and

Amsterdam’s Centraal train station.There are two train stations in DenHaag; be sure to get off at Den HaagCentraal.

Links to Area Information• For more information on Den Haag, visit:

www.the-hague.info/tourist/ where you’llfind information on local museums andother places of interest.

• Download a larger map of Den Haag at theconference website.

Friday June 4, 2010Archiving 2010 is pleased to announcethat the following institutions haveagreed to open their doors to the verypopular Behind-the-Scenes Tours theafternoon of June 4. Times and lengthswill vary, but will be announced approx-imately one month before the confer-ence so that you may work them intoyour travel plans. In general, they willend by 6 pm. See note at right fordetails on participating.

Institutions that may be among thoseoffering tours include

Nederlands Instituut Voor Beeld En Geluid/Netherlands Institute for Sound and Vision

www.beeldengeluid.nl/template_subnav.jsp?navname=english&category=english

Koninklijke Bibliotheekwww.kb.nl/index-en.html

Van Gogh/Rijksmuseumwww.vangoghmuseum.nl/vgm/

www.rijksmuseum.nl

Special Note on ToursAdvance registration is required; space islimited and reserved on a first-come/ first-served basis. everyone who registers bythe early registration deadline will receivedetails on the tours and how to sign up forthem immediately following the early reg-istration deadline. Others will receive de-tails as they register. All tours are free, butparticipants are responsible for getting tothe tour site by the stated time.

Behind-the-Scenes Cultural Institution Tours

3

Archiving 2010

A charming restaurant in the city center.

Photo:SuzanneGrinnan.

IntroductionEach year in technology there is a standouttopic. For 2010 all eyes are on the increasedinterest in standardization.This series of presentations and workshops

is a must-attend event for any culturalheritage institution looking to improve andstabilize their digital imaging workflow. Nowmore than ever, creating and managingconsistent authoritative digital content is amission-critical function of any culturalheritage institution.The recent economic downturn has

brought the inefficiencies of traditional imagingpractices to the forefront. The costs related toimproper capture, multiple rounds of subjec-tive image editing and proofing, are no longeracceptable. Without objective verification tostandard imaging protocols, digitizationinitiatives can easily run off course.Experts around the world have been work-

ing on the development of standardized im-aging guidelines and methods of verificationfor image capture to ultimate output. Whilemany of these methods have beenapplied individually over the years, themovement towards international standardi-zation has reached a point of critical mass.Archiving 2010 is a unique opportunity tolearn about state-of-the-art capture to out-put workflow and the in-depth informationrequired for you to learn how to implementnew imaging strategies.To underscore the inter-related nature of

today’s imaging workflow, a unique 4-hourmorning track has been organized to providea high-level overview of the entire standardslandscape bringing together experts fromaround the world to give perspectives on var-ious stages of the imaging workflow. In theafternoon, registrants can choose to attendin-depth workshops based on the specific keyworkflow elements. Instructors illustrate spe-cific tools and technologies via live demon-strations and real-world examples. To round

out the program, there are several single-topicsessions including microfilm as storage, opensource OAIS tools, program management,and a focus on best practices for digitizationof three-dimensional objects.

T1A: A Focus on International Standards:From Capture to Output8.00 – 12.15 (4 hours)

This series of short presentations is intend-ed to give a birds-eye view of best practicesfor cultural heritage imaging from captureto ultimate output with an emphasis on thegrowing trend toward international stan-dardization. Imaging experts and usersfrom around the world have joined forces toillustrate how international standards thatexist today can improve image quality con-sistency while lowering costs.

Part 1: “Meten is Weten” (To Measure is To Know):The Standards Movement

Instructors: W. Scott Geffert, Center for DigitalImaging; Hans van Dormolen, Koninklijke

Bibliotheek; and Michael Stelmach, Library ofCongress (see bios under T1C)

In a spirit of true international cooperationthis series of presentations highlights therecently introduced digitization guidelinesin the US Federal Agencies DigitizationGuidelines Initiative (FADGI) and theNetherlands Metamorfoze PreservationImaging Guidelines, and their impact oncultural heritage imaging. As imaging isstill a relatively new technology, culturalheritage institutions worldwide have strug-gled with maintaining consistent imagequality between institutions, within institu-tions and, most importantly, when usingoutside vendors for photography and digiti-zation. After many years of developmentand testing, these guidelines, along with

Short Course Program: Tuesday, June 1, 2010


4

Archiving 2010

5

Short Courses At-a-Glance

8.00 – 12.15T1A: A Focus on International Standards:

From Capture to Output

8.00 – 12.15T4A: Scanner & Camera Imaging Performance:

Benchmarking and Workflow Monitoring

8.00 – 10.00T3A: Practical OAIS: FromIngest to Access Using Freeand Open-Source Tools

8.00 – 10.00T2A: Making Digital Preser-vation Affordable: Valuesand Business Models

13.15 – 17.30T1C: Applied Imaging Standards (Image Capture)

13.15 – 17.30T2C: Strategies for Asset/Project Management

13.15 – 17.30T3C: ISO Proofing and Printing Demystified

13.15 – 17.30T4C: Current Workflow Solutions for Benchmarking and

Monitoring Image Quality

10.15-12.15T2B: Managing Aesthetics:The Challenge of ImagingThree-Dimensional Objects

10.15 – 12.15T3B: Microfilm as an Estab-lished and Innovative Solu-tion for Long-Term Storage

Descriptions for short courses begin on page 4.

new tools to provide objective performanceverification, represent a critical step towardimproving the quality of digital collectionsworldwide. This will be the first time thatthe core similarities, as well as the subtledifferences in these protocols that strive toachieve the same goal—improved imagingquality and consistency—will be presented.

Part 2: Keeping Your Workflow on Track:Image Validation—Tools and Techniques

Instructors: Don Williams, Image Science Assoc.,(see bio under T4A) and Dietmar Wueller, Image

Engineering (see bio under T4C)While imaging standards are important,knowing that your imaging program meetsthese requirements is where verification be-comes essential. New technical charts andaccompanying software tools bring an arrayof scientific imaging performance testswithin reach of smaller institutions and dig-itization vendors alike. The presentationshighlight two methods of evaluating digitalcamera/scanner performance and valida-

tion to current ISO standards. Monitoringof imaging performance is a critical stepthat is often missing in digitization pro-grams. This is a rare opportunity to meetthe people behind the technology and tounderstand the design philosophies behindtwo approaches.

Part 3: Breaking Down the Silos: Strategies forMaximizing Technology Investments and Deploying

Standardized Images across DepartmentsInstructors: Howard Goldstein, Center for DigitalImaging, and Rob Hendriks, Rijksmuseum

(see bios under T2C)The program discusses the challenges fac-ing institutions as they work toward sharingresources and collaborating using newtechnologies. As digital technologies havebroken downmany departmental divides ofthe past, it is important that imaging initia-tives are closely coordinated with IT andmuseum management as a core strategicfunction. Using the recent changes to theimaging infrastructure of the Rijksmuseum

6


in Amsterdam as an example, the instruc-tors discuss the strategies, systems, andstandards that have been incorporated intothis innovative museum-wide workflow.

Part 4: When Pixels Meet Pulp—The Realities of ISOProofing and Printing

Instructors: Karl Koch, basICColor GmbH, andMaurice Tromp, Van Gogh Museum

(see bios under T3C)Karl Koch and Maurice Tromp illustratebest practices for image post-productionutilizing the latest ISO standards via realworld examples. Factors ranging fromviewing conditions, display calibration, andprinter calibration to working with printvendors are all critical aspects of a stableworkflow. This presentation emphasizesprocess control methods. Many institutionshave struggled with costly rounds of proof-ing and disappointing print quality. The in-structors illustrate how standardization andprocess control directly improves qualityand reduces production costs.

BenefitsThis course will enable the attendee to:• Gain an understanding of the state of

internationally accepted best practices• Understand the interconnected depend-

encies in today’s imaging workflow• Understand how standards can save

time and money• Develop effective imaging strategies

Intended Audience: program managers in thearchive, library, and museum communityinvolved in best practices regarding thecreation, organization, publication, or dis-tribution of digital images. The morningsession is intended to give attendees an un-derstanding of overall imaging workflow.Those interested in gaining more in-depthinformation can choose to attend one ofthe four related short courses in theafternoon.

T2A: Making Digital Preservation Affordable:Values and Business Models8.00 – 10.00 (2 hours)

Instructor: Simon Tanner, King’s College London

This course discusses the strategic perspec-tives toward being able to effectivelyfinance digital preservation. The audienceand other stakeholders define the economicfactors by which digital information is val-ued, used, and ultimately retained. In look-ing to finance digital preservation there area number of issues to consider includingbusiness planning, risk management, possiblerevenue streams, and a clear cost-benefitrelationship.The course offers a means of developing

a cost and benefit justification for digitalpreservation to help secure the financialunderpinning needed to make institutionaldigital preservation a realistic proposition.Topics covered include models for mon-

etizing content; the role of public reposito-ries; cost, business models, and OAIS; bal-ancing costs with benefits and theinstitutional mission; risk and conse-quences; and building your case. There willbe time throughout for Q&A.

BenefitsThis course will enable the attendee to:• Justify and build a case for digital

preservation• Understand different cost and business

models• Understand the balance of costs and

benefits with institutional mission

Intended Audience: managers in the archive,library, and museum communities in-volved with digital preservation or conser-vation strategies.

Simon Tanner is the director of King’s Digital ConsultancyServices (KDCS) at King’s College London. KDCS providesresearch and consulting services specializing in the infor-mation and digital domain for the cultural heritage andinformation sectors. Tanner is also co-director of the

Desmond Tutu Digital Archive project with two SouthAfrican partner institutions. He is an independent mem-ber of the UK Legal Deposit Advisory Panel and chair ofits Web Archiving sub-committee. He is also a member ofthe JISC Digitization Advisory Group. Tanner authoredthe book Digital Futures: Strategies for the InformationAge, with Marilyn Deegan, and they co-edited, DigitalPreservation. Tanner is also leading the committee decid-ing how to digitize the complete Dead Sea Scrolls in Israel.

T3A: Practical OAIS: From Ingest to Access UsingFree and Open-Source Tools8.00 – 10.00 (2 hours)

Instructor: Peter Van Garderen,Artefactual Systems

This course guides participants through aseries of clearly defined workflow stepsbased on an in-depth use case analysis ofthe OAIS functional requirements. Startingwith receipt of a Submission InformationPackage, participants can move sample filesthrough quarantine, identification, valida-tion, metadata extraction, normalization,archival package preparation, and upload ofDissemination Information Packages to aweb-based access system.Each participant receives a USB key

loaded with the open-source Archivematicadigital preservation system (see http://archivematica.org). Archivematica inte-grates a number of free and open-sourcetools to create a comprehensive, OAIS-compliant solution and implements format-specific preservation plans based on analy-ses of significant properties, best practicepreservation formats, and currently avail-able normalization tools.Participants are encouraged to bring a

laptop for using their Archivematica USBkey to follow along with the workflowdemonstration and to get some first-handexperience with some of the tools packagedinArchivematica, including JHOVE,DROID,FITS, Xena, ImageMagick, Bagit,ICA-AtoM, and the ArchivematicaDashboard.

Please note: This class is limited to 20 par-ticipants. If you plan to load the Archive-matica USB key on your laptop, pleasearrive 30 minutes early.

BenefitsThis course will enable the attendee to:• Understand OAIS requirements• Learn to move files through the work-

flow process• Get first-hand experience using

Archivematica

Intended Audience: IT administrators as wellas anyone involved with collection man-agement and conservation.

Peter Van Garderen is the Archivematica project manag-er and principal of Artefactual Systems, a Canadiancompany that provides open-source solutions for the in-ternational archival community, including the ICA-AtoM archival description software. He is a graduate ofthe University of British Columbia’s master of archivalstudies program and a doctoral candidate in archival sci-ence at the University of Amsterdam.

Short Course FeesMix and match courses.

You pay by the total number of hours taken!

If you register: by afterMay 2 May 2

2-hours Member €120 €1502-hours Non-member €140 €1704-hours Member €180 €2104-hours Non-member €200 €2306-hours Member €240 €2706-hours Non-member €260 €2908-hours Member €300 €3308-hours Non-member €320 €350

Students may register for any individualcourse for €50 until May 2 (€65 after).

IS&T reserves the right to cancel classes in theevent of insufficient advance registration. Please

indicate your interest early.

7

Archiving 2010

T4A: Scanner & Camera Imaging Performance:Benchmarking and Workflow Monitoring

8.00 – 12.15 (4 hours)Instructors: Peter Burns, Carestream Health, Inc.,and Don Williams, Image Science Associates

We begin with a discussion of how to inter-pret customer requirements when selectingcomponents for an image acquisition sys-tem. We then introduce several imagingprinciples that provide a background to un-derstanding imaging performance in digitalacquisition and conversion. The use andadaptation of several standards and emerg-ing institutional guidelines in museum orlibrary environments is described. Severalcommon problems faced by those provid-ing imaging services, or seeking to improveimage content are included. In each of thecases addressed, the discussion focuses onthe selection and development of test plans,performance measurements, use-caseacceptance criteria, and characteristics fortests targets and software. Suggestions andtools for corrective action for poorperformance are also provided.This course, focusing on methods for

benchmarking and work flow monitoring,is intended to provide the complementarybackground for course, T1A: A Focus onInternational Standards from Capture toOutput, which addresses several currentlyavailable solutions.

BenefitsThis course will enable the attendee to:• Establish accountability for imaging

performance problems• Describe several standards to character-

ize scanner and camera performance• Evaluate manufacturers' claims of reso-

lution, dynamic range, and noise• Identify sources of performance varia-

tion in digital image conversion• Understand user requirements for

analysis software tools• Apply summary measures to monitor of

imaging performance• Develop test plans, and apply

corrective-action solutions toill-behaved performance

• Identify key questions to ask imagingprofessionals and service providers

Intended Audience: managers, engineers, andtechnicians interested in evaluating andmonitoring scanner and camera perform-ance, and emerging guidelines. This in-cludes manufacturers, service providers,and content custodians. A working knowl-edge of digital scanner and camera opera-tion and the common technologies isassumed.

Peter Burns is with Carestream Health, Inc., working inimage evaluation, modelling, and image processing formedical imaging systems. Previously he worked for

Eastman Kodak Co. and Xerox Corp. He hastaught imaging courses for many years, as an ad-junct faculty member at Rochester Institute ofTechnology, at Kodak, and at previous Archivingconferences.

Don Williams is founder of Image ScienceAssociates, a digital imaging consulting and soft-ware group. Their work focuses on quantitativeperformance metrics for digital capture imagingdevices, and imaging fidelity issues for the culturalheritage community. He has taught short coursesfor many years, contributes to several imagingstandards activities, and is a member of theAdvisory Board for the interagency US FederalAgencies Digitization Guidelines Initiative (FADGI).

8


The lake behind the Parliment Building provides awelcome surprise to visitors.


T2B: Managing Aesthetics: The Challenge ofImaging Three-Dimensional Objects

10.15-12.15 (2 hours)Instructors: Barbara Bridgers-Johnson and JosephCoscia Jr., The Metropolitan Museum of Art, and

Frans Pegt and Cecile van der Harten,Rijksmuseum

While the standards and best practices fordigitizing two-dimensional artworks havebeen well documented, little attention hasbeen given to best practices for the digitiza-tion of three-dimensional objects. Sculp-ture, furniture, ceramics, glassware, jewelry,etc. exist in many collections, yet the con-cept of standardization is often overlookedwhen it comes to the highly-subjective taskof visualizing objects. Just as standardiza-tion is critical for works on paper, main-taining the quality and consistency of digi-tizing 3D objects should be a priority. Thiscourse highlights two successful object im-aging programs from technical and aesthet-ic points of view. A discussion of the topicfrom a managerial policy perspective, is fol-lowed by one related to the photographicand technical challenges. The course pro-vides examples of successful strategies, aswell as common approaches to visualizingobject across institutions.

BenefitsThis course will enable the attendee to:• Learn to develop strategies for

improved 3D object photography• Create more consistent, effective images• Understand approaches to workflow

quality control• Develop equipment and staffing

strategies• Respond to changing institutional

policies

Intended Audience: program managers in thearchive, library and museum community,and imaging program managers.

Barbara Bridgers-Johnson is the general manager forimaging at The Metropolitan Museum of Art. In chargeof the museum’s in-house photography program since1986, she manages a department of nineteen photogra-phers, assistant photographers, and administrative,printing, and production staff. Images created in the stu-dio appear in the pages of award winning exhibition cat-alogs produced by the museum and on its website, andare represented in a myriad of merchandising productsfound throughout the Museum’s stores and satellite shopsaround the world.

Joseph Coscia, Jr. has been chief photographer atThe Metropolitan Museum of Art since 2007, and a staffphotographer since 1991. He oversees the daily workflowof images produced by eleven staff photographers, who sharethe common goal of establishing the highest standards inlighting, as well as imagery. His notable publications in-clude Light on Stone: Greek and Roman Sculpture inThe Metropolitan Museum of Art: A Photographic Essay(2003), Anglomania (2006), and European Furniture inThe Metropolitan Museum of Art: Highlights of TheCollection among many others. He is currently workingon photography for European Sculpture in The Metro-politan Museum of Art with a publishing date of 2012.

Frans Pegt attended the photo academy inApeldoorn. After graduation he continued his educationat the Academy of Art in Rotterdam. Pegt has studiedcolor management and the output in print work. In1989, he started as an independent studio photographerspecializing in advertising. In 1996, he was among thefirst in the Netherlands to change to digital photography.In 2007, he exchanged his photo studio for the studios ofthe Rijksmuseum. As a staff photographer he is responsiblefor the digitization of the collection of the Rijksmuseumin a standardized workflow.

Cecile van der Harten has been head of the ImageDepartment of the Rijksmuseum, Amsterdam since 2006.van der Harten supervises five photographers across threestudio locations and the Rijksmuseum photo archive,which supplies images to clients inside and outside themuseum. Her department is responsible for the systemat-ic digitization of the one million objects in the collection.The Rijksmuseum photography program has taken amodern standards-based approach to systematic capture.

9

Archiving 2010

T3B: Microfilm as an Established and InnovativeSolution for Long-Term Storage10.15 – 12.15 (2 hours)

Instructors: Dominik Giel, Fraunhofer IPM;Christoph Voges, Technische Universität

Braunschweig; and Klaus Wendel, Archium

Microfilm as a medium for long-term stor-age of documents can be found in almostevery library or archive. One of its majoradvantages is the lifetime of up to 500 years,depending on the material and storage con-ditions. Besides classical applications, mod-ern technologies such as laser film record-ing allow the storage of digital image data ashigh-quality color images on the film. Lat-est approaches even aim at storing any dig-ital information on the film in the form ofextremely small data points representinglogical ones or zeros.This course provides an overview of mi-

crofilm as a storage medium from differentpoint of views. After a short introduction tostate-of-the-art digitization and archivingin libraries and national archives, as well asa brief historical introduction to archivingon microfilm, a description of state-of-the-art laser exposure technology and its ad-vantages to archiving on microfilm is given.A detailed overview on the storage of ana-log documents, including data organizationand meta data insertion is provided. Final-ly, latest approaches to digital data storageon microfilm are presented. At the end ofthe course, there is a round table discussionfor questions about microfilm.

Dominik M. Giel graduated in laser physics (2000) fromBonn University and received his PhD from DuesseldorfUniversity (2004) for his work on hologram tomography.Giel focused on optical information processing during apost-doc visit at CalTech and joined the FraunhoferGesellschaft in 2004 where he heads the group of OpticalMicrostructure Techniques.

Christoph Voges received a degree in electrical en-gineering from Technische Universität Braunschweig,Germany (2005), with a major in information technolo-gy. During his studies he visited the University ofSouthampton, UK, as an exchange student. After gradu-ating, he joined the Institute for Communications Technol-ogy in Braunschweig, Germany. His particular research in-terests are modulation, channel coding, and channelmodels for microfilm as a medium for long-term datastorage. He is also a member of the ITG Technical Com-mittee 3.4 “Film Technology” of the Association for Elec-trical, Electronic, and Information Technologies (VDE),Germany.

Klaus Wendel is a historian specializing in scienceand technology. He graduated with a thesis about tractiontechnology (2001) and a doctoratet reatise about a Germanmathematician and musicologist (2005) from StuttgartUniversity. Employed at several archival institutionssince 1995, Wendel entered the ARCHE laser recordingproject with Fraunhofer IPM for the Landesarchiv Baden-Wuerttemberg and Stuttgart University library in 2004.In 2007, he formed the Archium, to provide technologicalsolutions for archival and historical institutions. He de-veloped software for image preparation and meta dataconjunction to improve the workflow of microfilm laserrecording.

T1C: Applied Imaging Standards (Image Capture)13.15 – 17.30 (4 hours)

Instructors: W. Scott Geffert, Center for DigitalImaging; Michael Stelmach, Library of Congress;and Hans van Dormolen, Koninklijke Bibliotheek

This course presents the various aspects ofthe latest imaging guidelines with livedemonstrations and discussions. The em-phasis is on the planning of an imagingstrategy for those that are either setting up anew imaging program or for institutionslooking to upgrade existing imaging pro-grams to take advantage of the latest stan-dardized capture methods.

BenefitsThis course will enable the attendee to:• Get a Metamorfoze digitization guide-

lines overview

JOIN IS&T NOWand take advantage of member rates forcourses and conference registration!

10


• Become familiar with the US FederalAgencies Digitization Guidelines Initiative(FADGI)

• Configure a digital studio• Learn about lighting options• Understand camera selection/evaluation• Gain a better understanding of software

selection/software• Develop museum-wide imaging policies• Output workflow considerations for

standardized capture and scanning

Intended Audience: program managers andphotographers in the archive, library, andmuseum community involved in best prac-tices regarding the creation of digital images.

W. Scott Geffert is president of the Center for Digital Im-aging Inc., a New York-based consulting firm specializingin digital imaging workflow for cultural heritage institu-tions. During the past 15 years, Center for Digital Imag-ing (www.cdiny.com) has worked with museums world-wide helping establish best practices and solve complexworkflow challenges. Geffert contributes to several imag-ing standards activities; is a member of the AdvisoryBoard for US Federal Agencies Digitization GuidelinesInitiative; and contributed to the development of theMetamorfoze Preservation Imaging Guidelines.

Michael Stelmach leads the still image group of theUS Federal Agencies Digitization Guidelines Initiative, acooperative effort to develop common digitization guide-lines for still image materials (such as textual content,maps, photographic prints, and negatives). The expecta-tion is this work will enhance the exchange of researchresults and developments; encourage collaborative digiti-zation practices and projects among federal agencies andinstitutions; and provide the public with a product ofuniform quality. It will also serve to set uniform qualityand establish a common set of benchmarks for digitiza-tion service providers and manufacturers.

Hans van Dormolen began a career as qualitymanager in Metamorfoze for the National Library of theNetherlands (1999) after working for 15 years as a pro-fessional photographer. He is responsible for the technicalquality of preservation substitutes, analog, and digital,and is the author of theMetamorfoze Preservation Mi-crofilming Guidelines and co-author ofMetamorfozePreservation Imaging Guidelines.

T2C: Strategies for Asset/Project Management13.15 – 17.30 (4 hours)

Instructors: Howard Goldstein, Center for DigitalImaging, and Rob Hendriks, Rijksmuseum

Over the past several years the Rijksmuseumhas completely transformed its digital cap-ture workflow and the information man-agement infrastructure that supports it, aspart of a newmaster plan. The primary goalof this initiative is to efficiently image theentire museum collection and build an in-formation infrastructure that provides im-age access to internal museum and externalpublic users for years to come. This coursewill delve into the IT strategy and DAM im-plementation from a technical, use case,and stakeholder perspective. The programserves as a case study full of valuable learn-ing experiences for anyone embarking onimplementing institution-wide imagingpolicies.

BenefitsThis course will enable the attendee to:• Better understand imaging workflow• Understand digital asset management• Experience digital imaging workflow

and use cases• Appreciate stakeholder definition• Learn project management

Intended Audience: IT managers, museumadministration, digital imaging staff, and

11

Archiving 2010

The Atlantic Ocean and beach at Scheveningen from theroof of the Kurhaus Hotel, an architectural gem.


12


those interested in the management, stor-age, and distribution of cultural heritagedigital information.

Howard Goldstein, vice president of Center for DigitalImaging Inc., has been on the forefront in aiding Fortune500 corporations and leading cultural institutions mi-grate their business practices to digital content creation,digital asset management, storage, and multi-purposedistribution. Goldstein has direct field experience in liter-ally every commercial CIS and DAM application for cul-tural heritage use, and he is a proponent of open sourcesolutions. Goldstein is one of the few people that speakthe language of IT and photography.

Rob Hendriks has been the IT manager for theRijksmuseum in Amsterdam since 1999 and is responsi-ble for IT and information management. After receivingdegrees in political science and information science,Hendriks started as an IT professional in 1988, mainlyin the academic world. As project manager he was re-sponsible for the implementation of the DAM, ERP, andCRM systems. He is also involved in developing themuseum’s strategy for the web and social media.

T3C: ISO Proofing and Printing Demystified13.15 – 17.30 (4 hours)

Instructors: Karl Koch, basICColor, GmbH, andMaurice Tromp, Van Gogh Museum

Museums worldwide continue to strugglewith production challenges. Often timesthese problems can be avoided by establish-ing standards-based production methodsand extending this workflow to print ven-dors. The Van Gogh museum has imple-mented standardized capture followingMetamorfoze guidelines, as well as ISOstandardized proofing and printing work-flow. This approach to capture and printproduction has proven to be very effective.After a detailed explanation of the methodsused to insure that print vendors are incompliance with internally generated ISOproofs, as well as methods for optimizingstandardized captures for high quality artpublications and licensing, methods andtools for the verification of ink jet proofs,displays, and press output to ISO standardsare demonstrated. This unique course clar-ifies common myths and misconceptionsregarding the realities of artwork reproduc-tion across any media.

BenefitsThis course will enable the attendee to:• Understand the key components of an

ISO proof/print environment; establisha proper editing environment followingISO guidelines; learn how to preparefiles for ISO printing and how to gener-ate in-house ISO proofs

• Learn the full technical description ofthe eciRGBv2 L* based working colorspace

• Improve consistency and quality via ob-jective verification

• Better manage outside vendors• Gain knowledge related to print output

and image postproduction workflow

Intended Audience: program managers andproduction staff in the archive, library and

YOU DO THE MATH!

€495 = Non-member Registration

OR

€395 Member Registration

+€75* Membership

€470 = Conference RegistrationIS&T MembershipAccess to 16,000+ papersAccess to member databaseJIST or JeI online subscriptionReduced Short Course FeesIS&T Conference discountsThe Reporter mailed to you

Become a member when you register anduse the member rate to calculate fees!

*Non-US address membership; based on Feb. 2010 exchange rate.

Membership charged in US dollars at $105/overseas address;

$95/US address; $25/students.

13

Archiving 2010

museum community involved in best prac-tices regarding print publication. Peopleinvolved in digitization of material thatmay be printed or distributed for print.

Karl Koch is the CEO of basICColor GmbH (the succes-sor to Color Solutions which was founded in 1998 andchanged to basICColor GmbH in 2008). basICColorGmbH makes the basICColor suite of color managementproducts and support services including tools to verifyproofs and press targets to ISO standards. He is an activemember of Fogra and ICC, and was the author of theeciRGB and subsequent eciRGBv2 color space definition.

Maurice Tromp, was employed by Kleurgamma(photo lab ) in Amsterdam from 1999-2009. While there, heworked regularly with the Van Gogh Museum. Currently hehas a full-time contract as an image technician from themuseum, which has set up its own photo studio. Tromp isresponsible for color management for production, especiallydelivery of files for print. He color manages digital files ineciRGBv2 in line with the ISO standards promoted atwww.eci.org, by applying FOGRA standards to calibrate themuseum’s proofing system, and to check whether publishers’prints conform to FOGRA standards. He is also responsiblefor converting digital files and checking for correct color con-version with the FOGRAMediawedge.

T4C: Current Workflow Solutions for Benchmark-ing and Monitoring Image Quality13.15 – 17.30 (4 hours)

Instructor: Dietmar Wueller, Image Engineering

A short summary of the existing standardsis followed by an overview of the existingand available test targets. Scans of these tar-gets are typically evaluated using softwaretools in combination with individual speci-fications for different kinds of originals.The available tools demonstrations and po-tentials for an automation of the process arediscussed. Based on the specifications, wedefine benchmarking objectives and showexamples of how these can be determined.Reasons for real systems not meeting thespecifications in the monitoring process arelisted and addressed. Potential solutions forsolving problems are presented with ways

for long-term quality assurance for archiv-ing systems. Last, but not least, the integra-tion of systems into existing workflows—essential for a successful monitoringprocess—is discussed.This course focuses on practical solu-

tions for benchmarking and monitoring.The background information provided inT4A (p. 8) is helpful, but not essential.

BenefitsThis course will enable the attendee to:• Understand the basic process of image

quality measurements• Identify the existing standards and their

practical relevance• Identify exiting soft/hardware solutions• Apply these solutions to individual

workflows• Define individual specifications based

on given examples• Understand the results from an image

quality determination• Take action when a parameter is out of

spec• Select appropriate equipment based on

evaluation software and test targets

Intended Audience: managers, engineers,technicians, manufacturers, service providers,and content custodians interested in evalu-ating and monitoring scanner and cameraperformance, and emerging guidelines. Aworking knowledge of digital scanner andcamera operation and the common tech-nologies is assumed.

Dietmar Wueller studied photographic sciences at theUniversity of Applied Sciences Cologne in Germany.Since 1997, he has run an independent test lab for digitalcameras and scanners that has also developed into one ofthe leading suppliers for test equipment for digital imagecapture devices. Since 2000, Wueller has been theGerman representative to ISO TC42 WG18, and he is amember of the Board of the European Color Initiative.He is the author and coauthor of several books, and hastaught several courses on image processing at the Univer-sity of Cologne and the Electronic Imaging Symposium.

Technical Program

14


Wednesday, June 2, 2010

8.30 - 9.40WELCOME AND KEYNOTE

Access to Digital Collections: Toward aNational Infrastructure, Bas Savenije,Koninklijke Bibliotheek (the Netherlands)

9.40 - 17.10DIGITAL COLLECTIONS

From the Site to Long-Term Preservation: AReflexive System to Manage and ArchiveDigital Archaeological Data, Maria Esteva,Adam T. Rabinowitz, and Jessica Trelogan,University of Texas at Austin (USA)Move It or Lose It: Investigating Portability ofa System for Access to Government Informa-tion, Christopher A. Lee, University of NorthCarolina (USA)Theories, Methods, and Testbeds for Curationand Preservation of Digital Art,Perla Innocenti, University of Glasgow (UK)Assessing Digital Preservation Infrastructures:A Framework for Library, engineering andeScience Organisations, Perla Innocenti andSeamus Ross, University of Glasgow (UK);Elena Maceciuvite and Tom Wilson, SwedishSchool of Library and Information Science(Sweden); and Jens Ludwig and WolfgangPempe, Goettingen State and UniversityLibrary (Germany)

Accessing Anthropology: Digital Collectionsat the National Anthropological Archives,Smithsonian Institution, Stephanie OgeneskiChristensen, Smithsonian Institution (USA)Unplugging the DAM: Making Digital AssetManagement Business Process Based byDeconstructing It, Howard Goldstein, Centerfor Digital Imaging, Inc. (USA), and RobHendriks, Rijksmuseum (the Netherlands)Towards Policy and Quality Interoperability:Challenges and Approaches for DigitalLibraries, Giuseppina Vullo, Perla Innocenti,and Seamus Ross, University of Glasgow (UK)Archivematica: Lowering the Barrier to BestPractice Digital Preservation (Focal), PeterVan Garderen, Artefactual Systems Inc.(Canada)The eArchive Service—A Practical, Costeffective and Sustainable Approach forPreserving Authentic electronic Records,Mark Pickering, AstraZeneca PLC, andMark Evans, Tessella, Inc. (USA)Gathering the Requirements for a NextGeneration Digital Preservation Framework,Brian Aitken, Perla Innocenti, and SeamusRoss, University of Glasgow (UK)A Digital Curation Curriculum for MuseumStudies, Helen R. Tibbo, University of NorthCarolina at Chapel Hill (USA), and WendyDuff, University of Toronto (Canada)examining the Aptitude of Tools for FileFormat Migration from TIFF to JPeG2000Using the Planets Testbed, Sven Schlarb1,Edith Michaeler1, Brian Aitken2, AndrewJackson3, Andrew Lindley4, and Max Kaiser1;1Austrian National Library (Austria), 2Universityof Glasgow (UK), 3British Library (UK), and4Austrian Institute of Technology (Austria)Sustainability Issues in Public BroadcastingArchiving, Howard Besser and Kara vanMalssen, New York University (USA)Open Source Components, StandardsConformance, and UCD: Building Blocks forSuccessfully Managing and enhancing anestablished Digital Archive, Kathleen Murrayand Mark Phillips, University of North Texas (USA)

Den Haag—a modern city with old-world charm.


15

Archiving 2010

Thursday, June 3, 2010

8.30 - 9.40KEYNOTE

Digital Preservation in Byte-sized Chunks:Good Practice, Best Practice, and Why WeShould be Careful What We Wish For,William Kilbride, Digital Preservation Coalition(UK)

9.40 - 15.30CAPTURE, IMAGING, AND

WORKFLOWImage Quality of Archiving SystemsMeasured Using the UTT and MetamorfozeGuidelines, Dietmar Wueller, Image Engineer-ing (Germany), and Hans van Dormolen,National Library of The Netherlands (theNetherlands)FamilySearch Digital Image Standard: A Keyto Quality Images, Richard J. Laxman,FamilySearch (USA)Image Quality Assurance for the RealWorld, Paul W. Jones and Chris W.Honsinger, Certifi Media Inc. (USA)The Color of Black and White,Don Williams, Image Science Associates, andPeter D. Burns, Carestream Health Inc. (USA)A Cost-efficient and Automatic DigitizationWorkflow Using Commodity Hardware andDistributed Computing, Henrik Johansson andErik Siira, National Library of Sweden; andHamid Sarve, Uppsala University (Sweden)Managing Visually Lossless Compression,Christy Henshaw and Dave Thompson,Wellcome Library; and Robert Sharpe,Tessella plc (UK)Rich Data Imaging at the Van GoghMuseum, W. Scott Geffert, Center for DigitalImaging Inc. (USA)A Practical Approach: The Quest for aLarge-Scale Newspaper DigitizationWorkflow, Edwin Klijn, Koninklijke Bibliotheek(the Netherlands)Image Validation in end to end Workflows(Focal), Peter Krogh, Peter Krogh Photography(USA)

IMPACT: Building Capability in MassDigitisation, Niall Anderson, Aly Conteh, andNeil Fitzgerald, British Library (UK)Imaging, Cataloging & Publishing theWorld’s Vital Records, Paul D. Abbott,FamilySearch.org (USA)

15.30 - 17.00INTERACTIVE PAPER SESSION

The Digital Afterlife of Kodachrome, EliasKreyenbühl, University of Basel (Switzerland)A New Approach to Accessing Images foreducation, Kalliopi Vacharopoulou1, DavidPenfold2, Lindsay MacDonald2, and PandoraMather-Lees1; 1The Bridgeman Art Library and2London College of Communication (UK)Investigations on Color Microfilm as aMedium for Long-Term Storage of DigitalData, Christoph Voges, Volker Märgner, andTim Fingscheidt, Technische UniversitätBraunschweig (Germany)Preservation Archiving Storage Technologies,Keith Rajecki, Oracle (USA)Analysis of Document Parameters forScanning, Lindsay MacDonald, LondonCollege of Communication (UK)Digital Asset Management education andTraining, Martyn Jessop, King’s CollegeLondon (UK)Visualization for Archival Appraisal of LargeDigital Collections, Weijia Xu, Maria Esteva,

The old city hall.


16


and Suyog D. Jain, The University ofTexas at Austin (USA)The Chrominance Measurement for Col-oring Prints on Holographic Papers,Zhen Liu, Xiaoxia Wan, and XinguoHuang, Wuhan University (China)Applying User-Centered DesignPrinciples to Redesign the Interface tothe Portal to Texas History: TheIOGeNe Project, Kathleen Murray andDreanna Belden, University of NorthTexas (USA)Advanced Spectral Imaging forHeritage Science, Fenella G. France,Library of Congress, and Michael B. Toth,R.B. Toth Associates (USA)

Friday, June 4, 2010

8.30 - 9.40AWARDS PRESENTATION AND

KEYNOTEWhat Is (and What Isn’t) A PhotographToday?, Martin Jürgens, photographconservator and recipient of the 2010 HPImage Permanence Award (Germany)

9.40 - 12.40ACCESS, STRATEGIES, AND FILE

FORMATSThe Art of Preserving Digital Creativity inPlanets, Andrew McHugh, LeonidasKonstantelos, and Matthew Barr, University ofGlasgow (UK)Demonstrating the Next Generation Preser-vation Framework, Thomas Wollschlaegerand Attila Zabos, German National Library(Germany)Mass CD/DVD Migration: A Novartis CaseStudy, Daniela Bienz and Rudolf Gschwind,University of Basel; and Mario F. Pozzaandand Ludwig Gantner, Novartis (Switzerland)Raw as Archival Still Image Format: AConsideration, Michael J. Bennett, Universityof Connecticut, and F. Barry Wheeler, TheLibrary of Congress (USA)

PDF/A-2: The New Part of PDF/A,Thomas Zellmann and Mark McKinney,LuraTech GmbH (Germany)Long-Term Preservation of Digitized ArchivalDocuments and Digital Data on Laser-exposed Color Microfilm at the NationalArchives of Sweden, Karl-Magnus Drake,National Archives of Sweden (Sweden);Christoph Voges, Technische UniversitätBraunschweig; Andreas Hofmann, FraunhoferIPM; and Klaus Wendel, Archium (Germany)The Digital Time Capsule and OtherApplications of Microfilm, Florian Müller,Peter Fornaro, and Rudolf Gschwind,University of Basel (Switzerland)

One of the Dutch Parliment Buildings.

Show Your Productsto Archiving Attendeesat the Exhibitionon Thursday

The exhibition will run all day Thursday

in the same space as the coffee break and

Interactive Papers Session to ensure

visibility and interaction.

Contact Donna [email protected]

+1-703-642-9090 x107


Archiving 2010

17

We have contracted with the following hotelsto offer special rates for conference partici-pants, however for this meeting, you shouldfeel free to try to locate others that may suityour needs better. Each hotel is holding alimited number of rooms at the noted rate.Most hotels have stringent cancellation poli-cies, so be sure to review these with the ho-tel. All but the Kurhaus are within a 5-25minute walk of the KB; the Kurhaus is withina 20 minute tram ride.

To make a reservation, download the appro-priate PDF from the Archiving conferencewebsite. Hotel cancellation policies are verystrict, so be sure to check with the hotel youchoose as to their policy.

Hotels are listed from least to most expensive.

Ibis Den Haag City Center Hotelhttp://ibis-den-haag-city.hotel-rn.com/• a modern 3-star hotel in the heart of the

old town, an ~20-minute walk from theKB, (A on map, page 2)

• Single/double: €120 excluding tax andbreakfast

• breakfast: €13 prepaid/day, internet€19,95/day

• Check in: 14.00 Check out: 12.00• Reservation deadline: May 2, 2010

Mercure Hotel Den Haag Centralwww.accorhotels.com/nl/hotel-1317-mercure-den-haag-central/index.shtml• a contemporary 4-star hotel located in the

newer area of the city center, a 15-minutewalk from the KB, (B on map, page 2)

• Single/double Weekday: €130Single/double Weekend: €95 excludingtax and breakfast

• breakfast: €19,50 prepaid/day,internet €19,95/day

• Check in: 14.00 Check out: 12.00• Reservation deadline: May 2, 2010

Parkhotelwww.parkhoteldenhaag.nl/• a mansion converted into a 4-star hotel

located adjacent to the Palace Gardensand a 25 minute walk from the KB (D onmap, page 2)

• Single/double room: €150/180,including internet access, but excludingtax and breakfast

• breakfast: €17,50/day• Check in: 15.00 Check out: 12.00• Reservation deadline: April 26, 2010

eden Babylon Hotelwww.edenhotelgroup.com (locate DenHaag in listing on lower right)• modern 4-star hotel adjacent to the KB

(a 5-minute walk; C on map, page 2)• Single room: €155, including internet

access, but excluding tax and breakfast• breakfast: €13,50/day• Check in: 15.00 Check out: 12.00• Reservation deadline: April 26, 2010

Steigenberger KURHAUS Hotelwww.kurhaus.nl/homeenglish.html• a beautiful, Victorian Grand 5-star hotel,

located directly on the beach in theScheveningen district, an ~20-minute tramride from the KB, (E on map, page 2)

• Single/double Town View: €175/€195Superior Sea View Room: €215/€235

• price includes breakfast, but not city taxof ~€5/person/night

• Check in: 15.00 Check out: 12.00• Non-smoking facility; internet €22/day• Reservation deadline: April 17, 2010

Accommodations

SAVE €!!! Not a member? Join IS&T and calculate conference fees based on member rates.*Please charge the card listed below with the following membership:___ $95 US address ___$105 overseas address ___$25 Student Total $ _____

CONFeReNCe ReGISTRATION Fee INCLUDeS• all the technical sessions • daily coffee breaks • Conference Proceedings

• Welcome and Conference Receptions • Optional Behind-the-Scenes Tours

There is no online registration for this event; fax form to +1-703-642-9094.All fees charged in Euros. You must register by May 27, 2010 to use this form;after that date, registration must be done in person at the conference venue.

Conference Registration (CHECK ONE) until May 2 after May 2 TOTAL___ IS&T Member €395 €470 € ________ Non-member €495 €570 € ________ Speaker/Session Chair Member €355 €430 € ________ Speaker/Session Chair Non-member €395 €470 € ________ Student (ID required) Member €125 €145 € ________ Student (ID required) Non-member €150 €170 € ________ One-day � Wed � Thurs � Fri €265 €300 € _____

Short Course Registration (be sure to multiply number of classes by per course fee and place on total line)Classes are charged per total number of hours taken. See page 3 for schedule. Mark whichclass you will take. Calculate total class hours taken and check appropriate amount below.Two-hour classes (check up to two): � T2A � T3A � T2B � T3B

Four-hour classes (check up to two): � T1A � T4A � T1C � T2C � T3C � T4C

Member Non-member***ADD €30 to each price category after May 2.***

___ 2-hours of classes €120 €140 € ________ 4-hours of classes €180 €200 € ________ 6-hours of classes €240 €260 € ________ 8-hours of classes €300 €320 € _____

*Students may register for any short course at €50 each until May 2 and €65 after that date.Student: ______ total classes x €50 (€65 after May 2) € _____

Other___ Extra Archiving 2010 Proceedings (special advance purchase/on-site rate) €60 € ________ Additional Reception Tickets (Welcome and Conference) €75 € _____

GRAND TOTAL € _____

Payment Method: � MC � VISA (We cannot accept AmEx for this meeting.)Card#: ______________________________________________ Exp. Date: ____________Name as it appears on card: __________________________________________________Authorization Signature: _______________________________________________________

Return this form with signed credit card authorization or check payable in Euros toIS&T, 7003 Kilworth Lane, Springfield, VA 22151 or fax to 703/642-9094

Please note: To cover bank charges and processing fees, there is a cancellation fee of €50 untilJune 1, 2010. After that date, the cancellation fee is 50% of the total plus €50.

No refunds will be given after July 1, 2010. All requests for refund must be made in writing.* Membership is charged in US dollars. You will be contacted about your complimentary journal subscription choice.

Membership paid for now begins immediately and expires Dec. 31, 2010. Student memberships expire Sept. 30, 2010.

Archiving 2010 Conference RegistrationGiven Name___________________________ Family/Surname __________________________Title/Position ____________________________________________________________________Company _______________________________________________________________________Mailing Address _________________________________________________________________________________________________________________________________________________Telephone ______________ Fax ______________ Email _________________________