State Library’s collection material that is selected for digitisation comes to the Digitisation team in a variety of forms. This blog describes capture of artwork that is framed and encased within glass.
So let’s see how the item is digitized.
Two large framed original artworks from the picture book Teacup written by Rebecca Young and illustrated by Matt Ottley posed some significant digitisation challenges.
When artwork from the Heritage collection is framed in glass, the glass acts like a mirror and without great care during the capture process, the glass can reflect whatever is in front of it, meaning that the photographer’s reflection (and the reflection of capture equipment) can obscure the artwork.
This post shows how we avoided this issue during the digitisation of two large framed paintings, Cover illustration for Teacup and also page 4-5 [PWC/255/01 ] and The way the whales called out to each other [PWC/255/09].
Though it is sometimes possible to remove the artwork from its housing, there are occasions when this is not suitable. In this example, the decision was made to not remove the artworks from behind glass as the Conservation staff assessed that it would be best if the works were not disturbed from their original housing.
The most critical issue was to be in control of the light. Rearranging equipment in the workroom allowed for the artwork to face a black wall, a method used by photographers to eliminate reflections.
We used black plastic across the entrance of the workroom to eliminate all unwanted light.
The next challenge was to set up the camera. For this shoot we used our Hasselblad H3D11 (a 39 mega pixel with excellent colour fidelity).
Prior to capture, we gave the glass a good clean with an anti-static cloth. In the images below, you can clearly see the reflection caused by the mirror effect of the glass.
Since we don’t have a dedicated photographic studio we needed to be creative when introducing extra light to allow for the capture. Bouncing the light off a large white card prevented direct light from falling on the artwork and reduced a significant number of reflections. We also used a polarizing filter on the camera lens to reduce reflections even further.
Once every reflection was eliminated and the camera set square to the artwork, we could test colour balance and exposure.
In the image below, you can see that we made the camera look like ‘Ned Kelly’ to ensure any shiny metal from the camera body didn’t reflect in the glass. We used the camera’s computer controlled remote shutter function to further minimise any reflections in front of the glass.
The preservation file includes technically accurate colour and greyscale patches to allow for colour fidelity and a ruler for accurate scaling in future reproductions.
The preservation file and a cropped version for access were then ingested into the State Library’s digital repository. The repository allows for current access and future reproductions to be made.
From this post you can see the care and attention that goes into preservation digitisation, ‘Do it right, do it once’ is our motto.