In the past decade, the way image based media is created, disseminated, and shared has changed exponentially, as digital imaging technology has replaced traditional film based media. Digital images have become the pervasive photographic medium of choice for the general public. Most libraries, archives, museums, and galleries have undertaken some type of digitisation program: converting their holdings into two dimensional digital images which are available for the general user via the Internet. This raises issues for those aiming to facilitate the creation and preservation of digital images whilst supplying and improving user access to image based material. Digital Images for the Information Professional provides an overview of the place of images in the changing information environment, and the use, function, and appropriation of digital images in both institutional and personal settings. Covering the history, technical underpinnings, sustainability, application, and management of digital images, the text is an accessible guide to both established and developing imaging technologies, providing those within the information sector with essential background knowledge of this increasingly ubiquitous medium.

"Authored by the Digital Photographic Documentation Task Force of the American Institute for Conservation of Historic and Artistic Works"--P. 11.

In Digital Image Systems, Claus Gunti examines the antagonizing reactions to digital technologies in photography. While Thomas Ruff, Andreas Gursky and Jörg Sasse have gradually adopted digital imaging tools in the early 1990s, other photographers from the Düsseldorf School have remained faithful to film-based technologies. By evaluating the aesthetic and discursive preconditions of this situation and by extensively analyzing the digital work of these three photographers, this book shows that the digital turn in photography was anticipated by the conceptualization of images within systems, and thus offers new perspectives for understanding the »digital revolution«.

One of the main concerns for digital photographers today is asset management: how to file, find, protect, and re-use their photos. The best solutions can be found in The DAM Book, our bestselling guide to managing digital images efficiently and effectively. Anyone who shoots, scans, or stores digital photographs is practicing digital asset management (DAM), but few people do it in a way that makes sense. In this second edition, photographer Peter Krogh -- the leading expert on DAM -- provides new tools and techniques to help professionals, amateurs, and students: Understand the image file lifecycle: from shooting to editing, output, and permanent storage Learn new ways to use metadata and key words to track photo files Create a digital archive and name files clearly Determine a strategy for backing up and validating image data Learn a catalog workflow strategy, using Adobe Bridge, Camera Raw, Adobe Lightroom, Microsoft Expression Media, and Photoshop CS4 together Migrate images from one file format to another, from one storage medium to another, and from film to digital Learn how to copyright images To identify and protect your images in the marketplace, having a solid asset management system is essential. The DAM Book offers the best approach.

"The first edition of Introduction to Imaging was published in 1995 and quickly became a standard textbook on the construction of digital image collections. The Visual Resources Association Bulletin praised it for setting forth "important basic principles and technical terms that anyone beginning an imaging project would need to know."" "Significantly expanded and updated, the revised edition of Introduction to Imaging allows curators, librarians, collection managers, scholars, and students to better understand the basic technology and processes involved in building a cohesive set of digital images. It also explores how to link digitized images to the information required to access, preserve, and manage them. Other topics include making data interoperable with other information resources and activities; developing strategies that do not limit or foreclose future options; and ensuring the longevity of digital assets. Book jacket."--Jacket.

The book accompanies a major traveling exhibition of masterworks from the Hallmark Photographic Collection, one of the most renowned holdings of its kind in the world.

Advice and insights from professionals working in a variety of fields, from photojournalism and portraiture to fine-art, landscape and commercial photography Technical explanations about how photographic tools work—so you can connect knowledge to your practice and work more instinctively and creatively Key steps for improving digital workflow Innovative exercises at the end of each chapter as well as on our companion website that encourage you to experiment with and understand the photographic process—from learning how far you can push your camera’s sensor to exploring the effects of neutral vs. creative color Interviews with technical and creative experts about developing skills and making images that matter

A resource for the photographic conservator, conservation scientist, curator, as well as professional collector, this volume synthesizes both the masses of research that has been completed to date and the international standards that have been established on the subject.

This paper is a response to discussions of digitization at meetings of the National Humanities Alliance (NHA). NHA asked the Council on Library and Information Resources (CLIR) to evaluate the experiences of cultural institutions with digitization projects to date and to summarize what has been learned about the advantages and disadvantages of digitizing culturally significant materials. Findings revealed that digitization often raises expectations of benefits, cost reductions, and efficiencies that can be illusory and, if not viewed realistically, have the potential to put at risk the collections and services libraries have provided for decades. One such false expectation--that digital conversion has already or will shortly replace microfilming as the preferred medium for preservation reformatting--could result in irreversible losses of information. This paper defines digital information; identifies weaknesses of digitization as a preservation treatment; discusses the benefits and drawbacks of digital technology for access; and highlights issues institutions must consider in contemplating a digital conversion project. (AEF)