- Words, Statements, EAD
- Intro: Minimal Processing of Photographic Materials
- One Page For Collecting
- Identifying 19th and early 20th century formats
- Photographs PRE-Intake
- Minimal Processing Pre-intake
- Minimal Processing Recommendations
- SHC-Z Images
- Photographic Formats
Photographs not photos.
Titles in quotation marks are derived from original containers.
Notes and frame-level descriptions on the original enclosures and on the verso of the proof sheets have been included when present.
Folder titles were derived from original folder names and from descriptive metadata found within the files by the processing archivist. Images were sorted into categories, such as Awards, Buildings, Campus Events, and Commencement, created at the repository during processing based on the existing directory structure.
Loose images were sorted into family and church groupings at the repository during processing.
Albums are in original order as received at the repository but descriptive information has been added by the processing archivist.
NOTE (As of 01/01/18): Unless you are dealing with an "oversized image" (print, negative, or other formats...larger than 11"x14") or a Special Format Image (Glass Plate Negatives, "Cased Images" (Ambrotypes, Daguerreotypes, Tintypes); Photographic materials should all use the Image Box (IB-collection#/box# ) / Image Folder (PF-collection#/box#) container types. Use
<physdesc><genreform>FORMAT</physdesc></genreform>in container to convey format type. (See "Photographs" section of Wilson Tech Services Notebook)
These new guidelines are intended to provide accelerated access to materials so that they may be used as soon as possible after acquisition and also to provide a basis for descriptions and preservation status that can be iterative. For a majority of the photographic materials acquired, this may NOT be the last time we handle these materials or add description, rather it is a time when we can access what can be used now, what should be done to keep the materials safe in the immediate future (used in reading room), and what steps may need to be taken to provide enhanced description and long-term preservation/storage.
Photographic materials, by their very nature, CAN be some of the most unique and highly useful research materials in our collections; however, they often require a level of preservation and description (especially if potential digitization is in the future) that can be costly in both time and supplies.
The return can be high, but due to our limited resources for processing photographic materials, this effort needs to be spent on the most at-risk and/or unique photographic materials in our holdings.
In order to make this process run effectively, it is important that information is collected BEFORE the materials come to Wilson Library.
The following are important factors in being able to use photographic materials:
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Quality of Appraisal
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Any copyright/use Restrictions
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Institutional Resources
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Physical Condition
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Physical Order
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Physical Access (analog)
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Digital access (analog and digital)
What does TS need to know about photographic materials in collection…
Donor= creator, collector, organization, etc...
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Is the donor the creator of the bulk of the images/photographic materials? *
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Does the transfer of materials include transfer of copyright? **
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Are there materials that are collected (copied)?
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When were the images in the collection created/collected? * * *
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Are the materials (subjects/formats) unique... Do you know of any similar collections?
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Do the materials depict populations, communities, or subjects that have historically been under represented in Wilson Special Collections?
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Is the collection mostly prints? (Are there existing "user-copies" for negatives or digital files)
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Are there negatives or other non-print photographic formats (see format listing)?
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Are there digital files?
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Is there an index, listing, sticky notes, paper clipped notes, and if so, who created them (and why) ?
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Have the photographic materials been published (by the donor or others)?
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Were the materials “in active use” by donor or researchers before transfer?
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Does the collection smell like vinegar (or anything else unpleasant)?
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Do you need to consult a format specialist before taking this in? (Facetime, teams chat with images, text,etc..)
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Are we the best repository for this collection?
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Are the images themselves the primary resource or is a secondary (reference collection)?
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Can the materials be used “as-is”?
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Are there people who could assist in further description if materials were digitized?
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Does the donor expect digitization of photographic materials as a condition of donation?
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How do you envision researchers using the images (and not violating copyright or getting us in trouble)?
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Does the collection have materials elsewhere?
Notes for above:
**, *Archival collections often contain photographic materials amassed for publication or research. Typically, this type of use agreements are for one-time use and would not be transferable to a collecting institution. Is important to note which materials are created by the donor and which were collected or contracted for limited use. These can still be used for research but will not receive the same levels of treatment as other original materials would.
***Dates help indicate what formats might be present in the collection that may require rehousing as well as give an idea of general copyright status (for 20th century materials)
(If images are “collected” or created by another entity…circa dates for that original material)
You can always ask Patrick; however, ANYTHING published by the Image Permanence Institute (at Rochester Institute of Technology) is photographic "gospel" for identification and preservation
What we need to know:
Who, What, Where, When, and Why?
Who created/collected the images
What "kind" of photographs
- Kind can mean format
- Kind can mean reason for "creation/subject" -- sort of bleeds into "Why"
Where were the images taken or collected?
When were the images taken or collected?
Why did the creator/collector create/collect the images
Why did you (curator) bring them here?
Formats: see format sheet
When we did our intake meeting for Ken Irwin (20155) we looked at the photographic materials. They included some promotional headshots of artists most likely NOT recording at Rounder Records Studios (Garcia, Jethro Tull, Reba Mc, etc....), a group of slides of a group that possibly pre-date the founding of Rounder, and some oversize images of Irwin and an artist.
When the rest of the materials were looked through, more photographic materials surfaced and were sent my way.
Once I was able to look at the materials, Irwin sort of became a case study of what I am calling the "Photographic Materials Matrix" that I have been tossing around to help me think about the kinds of materials I have seen after almost a decade of watching collections come into Wilson Library. I have been thinking about this a lot as TS adjusts our intake and accessioning processes.
Photographic materials, by their very nature, CAN be some of the most unique and highly useful research materials in our collections; however, they often require a level of preservation and description (especially if potential digitization is in the future) that can be costly in both time and supplies.
The return can be high, but due to our limited resources for processing photographic materials, this effort needs to be spent on the most at-risk and/or unique photographic materials in our holdings.
Irwin has several examples of the types of materials I have seen come in similar collections. The thought here is that after looking at what is in Irwin and how I approach the materials, perhaps this could be an approach to be thinking about the "kinds" of photographic materials we know we would like to be here, and ask the donors some more detailed questions about the kinds of photographic materials they think or know are in the materials they are donating.
I like to think of any new coll. as a new "Collector's / Creator's Archive"
Like Wilson Special Collections they create (or collect) materials that we can consider "primary research images."
(Much like the research and publications generated from our holdings, exhibits, presentations, finding aids, etc...)
These "primary research images" can include original images created by donor (or original creator/group/company) or "contracted" by donor. They can also collect or acquire original photographic materials that they did not create, but now own (either legally or just possession)
UNC usually ends up "owning" them.....they are out of copyright, OR the grouping of materials they have been collected are original and/or unique.
Usually where the unique stuff is.
Like Wilson Special Collections, they also create (or collect) images we can consider "secondary research images."
They may create (or collect) "secondary research images" either in the operation of their business/group and/or doing research/publishing. These images can include materials collected while doing research or running business/group that may provide clues to how a project was put together or how a business/group operated...but they are not themselves unique and can really ONLY be used as reference. These materials are usually owned/copyrighted by an external group/person and are not conveyed in deed of gift for collection they are in)
(Like our listening copies, scans, digitized materials, most of our books, mass-produced commercial recordings, mass-produced commercial photography, etc...)
Using this "matrix" here are some examples from Irwin (20551)
"Rounder Records Photographs"
Images depicting operation, staff, and artists associated with Rounder.
Includes "primary research images" created by or for Irwin and/or Rounder Records, related to Rounder:
- Negatives depicting studio
- Slides of studio and artists in studio
- Headshots of artists who worked with Rounder
- (Can we get negatives? Photographers listed. Rounder should/may own the negatives from the shoot)
- Owners and staff portraits
Images are unique and rights should be transferred with deed of gift.
This is where time should be spent
"Rounder Reference Photographs"
The Non-Rounder--Record publicity headshots.
Appear to be people who were already famous and or signed to a label. Almost all of them have a Copyright stamp and are "modern."
Interesting to somebody who can see he may have wanted Jerry to record or play banjo uncredited, but that image is copyrighted and famous. You could google it now and get it on phone.
Images are not unique and we do not have copyright
We would spend no time on them
"The Ken Irwin Photographs"
Portrait of Irwin
Images of Irwin and others (Where he is the main subject of the images)
Images of Irwin's family
Personalized/autographed headshots from artists to Irwin
We would spend time on these
"Hazel Dickens Photographs"
Images collected by Irwin of Hazel Dickens, who was also a friend, and of the Dickens family. These include both "primary resources" .. but even the secondary sources are unique due to their friendship. Also primary materials created and including Irwin.
Images are unique and we have copyright over some and or all (we may actually have originals and hold copyright of many of the "familiar" prints of Ms. Dickens)
Post Meeting:
Sometimes a collection has enough prints to make it have Image Boxes designated to it, but has some odd oversize or format-based materials that even after a first pass, can/should be separated. Here is how I see it working.
Just like the SHC Z-Image model, I have modified the existing SFC Z-Image series.
Currently there are 4 SFC Z Image Boxes
1-3 (Pre-Patrick) Mostly photographic Prints BUT some negatives mixed in.
4 (Patrick) Slides
5 "Mixed Unprocessed Processed Film"
6 Oversized Prints
Photographic materials, by their very nature, CAN be some of the most unique and highly useful research materials in our collections; however, they often require a level of preservation and description (especially if potential digitization is in the future) that can be costly in both time and supplies.
The return can be high, but due to our limited resources for processing photographic materials, this effort needs to be spent on the most at-risk and/or unique photographic materials in our holdings.
I like to think of any new coll. as a new "Collector's / Creator's Archive"
Like Wilson Special Collections they create (or collect) materials that we can consider "primary research images."
(Much like the research and publications generated from our holdings, exhibits, presentations, finding aids, etc...)
These "primary research images" can include original images created by donor (or original creator/group/company) or "contracted" by donor. They can also collect or acquire original photographic materials that they did not create, but now own (either legally or just possession)
UNC usually ends up "owning" them.....they are out of copyright, OR the grouping of materials they have been collected are original and/or unique.
Like Wilson Special Collections, they also create (or collect) images we can consider "secondary research images."
They may create (or collect) "secondary research images" either in the operation of their business/group and/or doing research/publishing. These images can include materials collected while doing research or running business/group that may provide clues to how a project was put together or how a business/group operated...but they are not themselves unique and can really ONLY be used as reference. These materials are usually owned/copyrighted by an external group/person and are not conveyed in deed of gift for collection they are in)
(Like our listening copies, scans, digitized materials, most of our books, mass-produced commercial recordings, mass-produced commercial photography, etc...)
Images depicting operation, staff, and artists associated with Rounder.
Includes "primary research images" created by or for Irwin and/or Rounder Records, related to Rounder:
- Negatives depicting studio
- Slides of studio and artists in studio
- Headshots of artists who worked with Rounder
- (Can we get negatives? Photographers listed. Rounder should/may own the negatives from the shoot)
- Owners and staff portraits
Images are unique and rights should be transferred with deed of gift.
This is where time should be spent
"Rounder Reference Photographs"
- The Non-Rounder--Record publicity headshots.
- Appear to be people who were already famous and or signed to a label. Almost all of them have a Copyright stamp and are "modern."
- Interesting to somebody who can see he may have wanted Jerry to record or play banjo uncredited, but that image is copyrighted and famous. You could google it now and get it on phone.
Images are not unique and we do not have copyright
We would spend no time on them
Portrait of Irwin
Images of Irwin and others (Where he is the main subject of the images)
- Images of Irwin's family
- Personalized/autographed headshots from artists to Irwin
We would spend time on these
Images collected by Irwin of Hazel Dickens, who was also a friend, and of the Dickens family. These include both "primary resources" .. but even the secondary sources are unique due to their friendship. Also primary materials created and including Irwin.
Images are unique and we have copyright over some and or all (we may actually have originals and hold copyright of many of the "familiar" prints of Ms. Dickens)
| Level | Control | Description | Arrangement | Preservation |
|---|---|---|---|---|
| Intake | Collection Level | Collection level record AT/MARC/EAD | As-is | Transfer into archival quality RC boxes. Mark any boxes with photographic materials (...other than a few prints sprinkled in correspondence) that will need separate storage OR restrictions to access/use. |
| First-Pass | Series/Subseries/Box Level | Brief finding aid with series/subseries level-descriptions and/or box- level descriptions (if more than one box). | Put series/boxes in rough order | Folder/house loose items (where you find them). Replace folders, binders, or other enclosures ONLY if un-serviceable. If there are multiple formats in box that are mixed up; separate film-based media (negatives, slides, etc..) for eventual storage with 'like-formats.' |
| Moderate Second Pass | Folder Level (Using “file level” container in EAD with at least IB-/# MAYBE PF-/# level spans.) | Finding aid enhanced with folder lists or simple inventories. Existing inventories repurposed (after review). May enhance “items” with ball-park image counts and still using broad “Photographic Prints, Photographic Negatives” terms | Materials should be put in “page-able chunks,” (IB-##### or PF-#####) preserving original order (when usable). Perform rough sort of any loose materials. Note any “relationship” between prints and negatives in BROAD terms (the negatives in PF-#####/# may be in folder PF-#####/# for images. | Use folders and labels (or other enclosures) when in good shape. House batches of physically similar materials (may be subdivided subjects, formats, dates, etc..) in reasonable 'chunks.' Only individually call out significant 'items.' |
| Moderate (Old School) | Folder Level (Using single PF-/# containers for each enclosure) | Finding aid includes detailed folder listings with a container listing for each folder in box. Folder titles are standardized and refined. Specific formats are called out and are included in <genreform> tags |
Put folders in order. Sort loose items into any groups that may become evident. Organize any materials that appear to be 'related' (Negatives, prints, copies, etc…). Folders may be numbered. | Efforts should be rehoused. Film formats should rehoused and stored according to best practice |
| Highly Intensive (Old School) | Item level | Detailed finding aid includes an enclosure level description for all materials | Arrange entire collection with corresponding item/enclosure level descriptions | All materials |
Preserve original order
Avoid item level-arrangement
Avoid item level weeding
| Level | Description | Action |
|---|---|---|
| Intake | Collection level | No action |
| First Pass | Series/Subseries/Box | Put series/boxes into rough order. |
| Moderate | Folder level | Preserve original order when usable. Perform rough sort of loose items. Note relationship between formats in broad terms. |
Avoid transcription of info on to enclosures (Photograph or scan..print and put in new enclosure)
| Level | Description | Action |
|---|---|---|
| Intake | Collection Level | Material boxed and reviewed for presence of film formats. Anything that needs to be isolated immediately due to preservation needs. |
| First-Pass | Series/Subseries/Box | All film based media separated for appropriate storage. Rolled photographs and other material that can not be used without high risk of damage should be isolated and/or restricted. Basic steps taken to maintain associations between identifying annotations and related images. |
| Moderate | Folder Level | Finding aid with abbreviated folder lists or simple inventories. Existing description repurposed. Note material stored separately due to media or format type at a more granular level. |
This document is intended for use when a new collection or addition to existing collection has a "Zs worth" of photographic materials. Additionally, this document is also intended to convey "what is going on" in some of our "legacy collections" that have had photographic materials processed and handled for obsolete reproduction workflows and best-practices.
- Majority of materials are photographic prints
- There are some other formats present
- There are some large amount of photographic materials that could be removed
Negatives (N-###) not described anywhere (about 90% done with updating finding aids for negatives uncovered about a year ago)
A few years back, I realized that the "corresponding" negatives for SHC-Z Images had been removed, and rehoused they were not described in finding aid or LDB. IN order to help make the materials that have already been described and rehoused, as well as handle formats being added to SHC Z-Image Boxes)
I have added the following boxes to the SHC Z Image Boxes
- Z Image Boxes 1-127: MOSTLY photographic prints
- Z Image Box 128: Medium format film (5x7)
- Z Image Box 129: Large format film (8x10)
- Z Image Box 130: Smaller format film (4x5 and smaller)
- Z Image Box 131: Oversized format film (+8x10)
- Z Image Box 132: Mixed formats (unsorted)
- Z Image Box 133: 35mm/120 Roll Film (b&w)
- Z Image Box 134: 35mm/120 Roll Film (color)
- Z Image Box 135: Special Formats (cased images/direct print formats)
- Z Image Box 136: Mounted slides
- Z Image Box 137: Glass plate negatives
Idea is that materials can be put here, where there is a small groups of photographic materials, but due to specialized formats, they should be separated if:
- Formats pose a risk to one another
- Materials have been included in a digitization request
single/ a few folders of photographic materials that were pulled from manuscript in materials.
These folders are numbered Sequentially using P-, PF-, N- numbering
These boxes can, historically speaking, contain a variety of photographic formats:, negatives, prints, special formats, etc…
All of my suggestions are intended to modify this practice, BUT:
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Standardize practices for TS to be applied to all (analog) photographic materials
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Make it easier to find this stuff (R&I)
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Make sure the materials themselves are stored properly so they are around for the long haul
To be good stewards of materials, we should
Keep CONTEXT of materials by keeping images created/collected together
This can mean keeping a roll of film, stack of negatives, stack of photos of same event/subject; or images that are derivatives of one another (negative and print), that arrive together...by proximity or in same enclosure.
We ideally separate film formats:
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Negatives by “backer” make up (nitrate, acetate, glass, polyester)
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Negatives by “size”
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Negatives by color / b&w
We ideally separate prints from negatives and some prints with prints
(priority on original/unique negatives)
Contact sheets and prints can serve as surrogates for the negatives and help preserve origianl negatives, which are irreplaceable.
If we are talking about smallish pockets of stuff that will, because of how the materials were used and stored by a majority of the donors we have seen over the years, already be together and in “predictable” formats, enclosures,, and storage situations.
I feel as if we can do this, even in a light way.
I would keep the existing "Z-Image" system that has been in place for many years, with a few modifications.
I propose keep the SHC-Z-Photograph box method. ..keep the box sequence ..BUT from now on, designate boxes for specific formats.
(See above for suggested best practice divisions)
Like we did for 20484 (Barnard)
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Z Image Box: Medium size b&w sheet film (5x7)
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Z Image Box: Large size b&w sheet film (8x10)
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Z Image Box: Small size b&w sheet film (4x5)
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Z image Box: 35mm & 120 b&w roll film
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Z image Box: 35mm & 120 color roll film
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Z Image Box: 35mm slides (b&w/color)
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Z Image Box: Special Formats (Tintypes, Ambrotypes, et..)
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Z Image Box: Glass Plates
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Z Image Box: Mixed negatives (unsorted negatives)
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Z Image Box: Photographic prints larger than 8x10 that re stored FLAT
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Current plan is to continue using the O-PF and X-O-PF system in place.
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(Not Implemented yet)
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Z Image Box: BIG Oversized Box for larger tan 11x14 Prints
What Should I include in the finding aid, if adding this type of material to these boxes
Container type Box: Z-Photo Box ##
Container type Enclosure: PF-Coll#/#
Title (From enclosure, description, or create general description)
Extent (number of whatever format you are describing)
Genre/Format ( Can just say photographic prints and/or negatives)
- Black-and-White Photographic Prints
- Color Photographic Prints
- Digital Photographic Prints
- Digital Photographic Prints
- Instant Print Film
- Special Format (See Patrick)
- Black-and-White Sheet Film
- Color Sheet Film
- Black-and-White 35mm Roll Film
- Color 35mm Roll Film
- Black-and-White 120 Roll Film
- Color 120 Roll Film
- Color 35mm Slide Film (Mounted)
- Black-and-White 35mm Slide (Mounted)
- Photograph Album
- Undeveloped Roll Film
Example of coding For Level 1
<c02><did>
<container type="imagebox">IB-5155/1-3</container>
<unittitle>Photographs, circa 1880s-1900s</unittitle>
<physdesc><genreform>Photographic Prints and Photographic Negatives</genreform></physdesc>
</did>
</c02>
Example of coding: For Level2
<c02><did>
<container type="imagefolder">PF-5155/01-12</container>
<unittitle>Hooper family photographs, circa 1880s-1900s</unittitle>
<physdesc><extent>17 images</extent></physdesc>
<physdesc><genreform>Mounted Photographic Prints</genreform></physdesc>
</did>
</c02>
<c02><did>
<container type="imagefolder">PF-5155/13-15</container>
<unittitle>Hooper family photographs, circa 1880s-1900s</unittitle>
<physdesc><extent>3 images</extent></physdesc>
<physdesc><genreform>Glass Plates Negatives</genreform></physdesc>
</did>
</c02>
| Format name | Image |
|---|---|
| Black-and-White 35mm Roll Film |  |
| Color 35mm Roll Film |  |
| Black-and-White 120 Roll Film |  |
| Color 120 Roll Film (Positive) |  |
| BW Sheet Film (4x5") |  |
| Contact Sheets and 35mm Negatives |  |
| Black-and-White/Color 35mm Slides |  |
| 35mm Slide Film |  |
| Color 35mm Slide Film |  |
| Stereocard |  |
| Color Sheet Film (Positive) | |
| Black-and-White Photographic Prints |  |
| Direct Print Photographs (Polaroid, Instax, etc..) |  |
| Special Formats: Ambrotypes, Daguerreotypes, Tintypes, Stereo cards, Carte de viste, Mounted Albumen Prints |  |
| Photograph Albums |  |
| Glass Plate Negatives |  |
| Color Photographic Prints |  |
| Mounted Albumen Photographic Prints Circa 1880s-1890s |  |
| Machine Print Kit |  |
 |
|
| Born Digital Media |  |
| Born Digital Media |  |