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Imaging rare, unusual, and intriguing objects at the Brown University Library

It’s time to make the targets!

November 28, 2012 by | Comments Off on It’s time to make the targets!

It is standard practice here in Digital Production Services to include a reference target for tone and color reproduction in each digital image capture. The target is retained in the master TIFF file, and cropped out of the derivative file. Reference targets are used to achieve accurate color reproduction by providing visual references to known swatch color values directly within digital image captures. For our department’s newest digital camera-based system, we use an Image Science Associates target, which includes a focus/sampling-rate reference scale. For reflective (flatbed) scanning, FADGI Technical Guidelines for Digitizing Cultural Heritage Materials recommend that reference targets include a photographic gray scale, a color reference, and an accurate dimensional scale. The Kodak Q-13 is recommended for the gray scale and color reference. The Q-13 color reference includes a ruler along the top edge, but because its accuracy is debatable, we substitute with a dimensional scale generated in Adobe Illustrator.

Combined, streamlined targets can be created in-house by cutting and stacking the Q-13 strips. I create two versions, a standard 8” target and a 4” mini target, appropriate for postcard sized objects.

The Materials and tools used to create the combined targets are:

-Kodak Q-13 Color Separation Guide and Gray Scales
-Laminating Sheets
-Centimeter rules [printed]
-Scissors or Paper Cutter
-Exacto knife
-Ruler
-Bone folder

The technique I employ to create the 8” combined targets is to first cut two strips from each Q-13 color and greyscale target, and align them with the printed centimeter rule. Next, for purposes of color management, small marks should be made on particular greyscale patches. With an exacto knife, I notch the “A”, “M”, “B”, and 19 densities.

The mini-target is created by cutting down the full size targets. Include a subset of the greyscale patches (I use A, 1, 2; 6, M, 8; 15, B, 17; 19), and notch the greyscale “A”, “M”, “B”, and 19 densities.
Carefully align all Q-13 segments in the order shown, and pencil in the creation date on the back of each target.

Begin the final stage of assembly by cutting laminating sheets into 4” and 2” widths. Place the target strips and dimensional reference on top of the 4” strip. Place the 2” laminate strip on top of the dimensional reference, making sure to leave the Q-13 strips exposed. Use the bone folder to increase adhesion. By making diagonal cuts as shown, the remaining laminate material below the dimensional reference will serve as a “handle” and will allow the target to be positioned without touching the Q-13 densities directly.

Even with careful handling, reference targets become soiled over time and need to be replaced on a routine basis, especially if they are used regularly. The targets are also prone to fade, and therefore should be stored away from direct light sources.

 

 

Photography: Lindsay Elgin

 

Walt Whitman’s Manhattan of the 1840s

November 9, 2012 by | 1 Comment

There are over 13,000 broadsides from the Harris Broadsides Collection currently available in the digital repository, with more being added as we work our way through digitizing the collection. This week, a brochure prepared by the American Society of Poets in the 1950s stood out as an artifact of interest. Walt Whitman’s Manhattan of the Forties: A Walk Through Printing House Square and Environs features a walk which reconstructs aspects of Walt Whitman’s New York in the early 1840s, when the city was “speeding toward the line separating the Knickerbocker town from its future materialization as an industrial metropolis”, and is peppered with Whitman’s poetry and anecdotes of mid nineteenth century life in the city.

The walk begins at St. Paul’s Chapel crosses over Broadway, continues up Ann, with a left onto Nassau to Park Place, on to City Hall, ending at Duane and Broadway. The brochure identifies sites and buildings with Whitman’s early career, at the time when he started to write for the newspapers. “It was here that Whitman worked as a reported in a milieu of corrupt politicians, cutthroat newspaper practices, yellow journalism.” The reader is urged to try and visualize Whitman at age 22, “a natty dresser, he probably looked like his stylish counterparts, who piddle and patter here in collars and tailed coats.”

The buildings and sites identified along the walk are the Astor House, the American Museum, The Evening Tattler (where Whitman served as editor in 1842), the printing shop of Park Benjamin (where Whitman worked as a printer upon first arriving in New York), and The Evening Mirror (Edgar Allan Poe began writing for the Mirror in 1844 and spent his noon hours across the street at Sandy Welsh’s (a famous beer cellar and popular hangout for newspaper men.) The New York Leader, Fowler’s Phrenological Cabinet (“where charts and physiological exhibits were on display to advertise this pseudo-science”), The Broadway Journal (also edited by Poe), Democratic Review, Tribune, Evening Post, The Aurora, The Evening Tattler, and Printing House Square are also identified. Printing House Square is the former home to The New York Times, The Sun, and the Tribune. All that remains of the square today is a memorial plaque and statue of Benjamin Franklin. The walk continues past Tammany Hall, the Empire Club (“gathering place for Five Points gangsters”) , Five Points (at that time, “a squalid cesspool of crime”), City Hall Park, the Tabernacle (deplored by contemporary writers as “a huge unsightly pile” and “a dingy mongrel place”), and many Boarding Houses, where in the 1840s “possibly more than half the population of the city lived, not only single young men like Walt Whitman, but couples like Mr. & Mrs. Edgar Allan Poe.”

The brochure cites several texts, suggesting that “taking one or two along on this tour would give the walker the best of all companionship.” The following titles from the list are available at the Brown University Library.
The times of Melville and Whitman
Last days of Knickerbocker life in New York
Nooks & corners of old New York
A tour around New York, and my summer acre
Domestic manners of the Americans
The memorial history of the City of New-York, from its first settlement to the year 1892
Autobiographia; or, the story of a life

The Impish Spirit

October 11, 2012 by | 1 Comment

Digitized materials relating to The Garibaldi Panorama: Visualizing the Risorgimento from Brown University Library collections are continuously being made available to the public. Part of my job is to ensure that images are cropped, rotated , exported in our processing software (Adobe Lightroom 4.1), and fit for publication. Every now and then, this work exposes me to a fascinating object that I have never seen before.

This week’s processing  work included Lo Spirito Folletto, a 19th century Italian illustrated humor journal or fumetto (literally translated as “little puff of smoke”, referencing speech balloons). Lo Spirito Folletto (or The Impish Spirit), was one of the first newspapers of Italian political satire and was published weekly in Milan from 1861-1885. Brown University Library owns a single volume from 1863, which now has been fully digitized, and will soon be added to the repository.

The periodical is heavily and beautifully illustrated with woodcuts and lithographs, as Harper’s Weekly or The Illustrated London News, but the content is devoted to Italian political satire, caricature, wit and humor.  Droll vignettes of imps, elves, goblins, and fairies are sprinkled among charades, riddles, puzzles, and articles lampooning Italian statesmen.

The richness and elegance of the artistic compositions, executed by gifted illustrators and caricaturists like Guido Gonin, Vajani, Vespasian (“Vespa”) Bignami, and Luigi Borgomainerio, resulted in the periodical gaining renown in Italy, as well as abroad. The newspaper was published in Paris as the L’Esperint Follet, and featured the best Italian designs together with works by distinguished french artists.

Aquatilium animalium historiae

October 4, 2012 by | Comments Off on Aquatilium animalium historiae

 The Aquatilium animalium historiae was  published in Rome in 1554 and is populated with 81 engravings of aquatic creatures by Antoine Lafréry and Nicolas Beatrizet. Salviani’s work is the first to use the technique of copper engraving for depicting fishes. The silvery, finely hatched lines of copper engraving represents the physical nature of fishes far more successfully than woodcuts. Lafréry and Beatrizet’s illustrations were ahead of their time, and their skill in depicting fish was unmatched for over a century. The book not only describes the different Mediterranean fishes, molluscs, and cephalopods, but includes information on capture techniques, nutritional value, and preparation.

“Serpent Marina.” Aquatilium animalium historia, liber primus (Ippolito Salviani, 1554).


“Orbis. Pesci Palombo.” Aquatilium animalium historia, liber primus (Ippolito Salviani, 1554).