10 Tips for the Student Digitizer

By: Madeline Moison

Madeline Moison (Archives Track, '19) spearheaded a digitization initiative for an archival institution in Boston during the summer of 2018. In this blog post, she shares some of what she learned with her peers at UMass Boston and beyond. 

Today archival documents, images, and film are being digitized more and more for a variety of reasons. Sometimes, documents are just too fragile to be handled frequently, or they hold great value to researchers around the world, or they’re so valuable they need to be digitized to make sure a copy of the document exists somewhere. Whatever the reason for digitization, institutions often choose to hire part-time or term archival workers to carry out this work. Graduate students in archives programs, like the one at UMass Boston, might find themselves hired for this kind of work, and tasked with digitizing a collection over the course of a semester or term.

Illustration of digitization by Jørgen Stamp for https://digitalbevaring.dk/.
Illustration of digitization by Jørgen Stamp for https://digitalbevaring.dk/.

This can be daunting for someone who doesn’t know a thing about cameras, editing software, or image file types. It’s no substitute for training, or for reviewing relevant manuals, but here  are ten tips and tricks for students approaching digitization for the first time:

(#1)

A lot can be said about the right camera for the job. Not every camera will work for digitization. Depending on what the end goal of the project is you’ll have to find the camera and editing software that works for you. But for the most part you will be shooting images in RAW. RAW is a type of file like the all familiar JPEG. JPEG won’t work for this sort of work, because the images shot in JPEG are compressed versions of what the camera “sees”. This is great for a lot of photos of your beach vacation (when you don’t care about quality as much as you care about quantity). However, when it comes to digitizing, your priorities are a little different. RAW files are uncompressed, so essentially everything the camera “sees” is saved as is. These are wildly large files– so watch out!

(#2)

Why shoot in RAW anyway? Well, because RAW images show everything the camera “sees,” they are extremely detailed. The level of detail allows you to zoom in on the image and avoid the fuzziness that can happen when you zoom in on JPEG images. The closer you can get to capturing the original document in that photo the better.

(#3)

Bring headphones! You will be left alone to your own devices for hours at a time with just the large stack of papers, photos, and books you are digitizing. I would recommend downloading a few good history podcasts or maybe a true crime one to keep you on your toes in the quiet of the archive.

Headphones; glasses; laptop.
Image is in the public domain.

(#4)

Back up everything! I can’t say that enough. Who do you think you are not saving anything in multiple places? Getting a portable drive can be expensive– but you can even get some 64 GB flash drives. If you’re feeling high-tech, take the two minutes to get a Drobox account to store stuff, too. A word of warning: if Terminator has taught us anything, it’s not to trust those pesky robots. So, keep a hard copy of everything you do on any type of external drive anyway. Don’t fall prey to Skynet; they want you to lose access to the precious bits of human history you’re digitizing for future generations.

(#5)

What to do with these files now that you have them? Odds are these files look rough. You’ll need to edit them. It’s not as daunting as it sounds. You can get a Photoshop monthly subscription for as little as 10 dollars a month that should cover all your needs. I won’t explain the details of Photoshop to you here, but you can watch a few YouTube tutorials and in no time, you’ll be a pro. Lightroom CC is a type of Photoshop that is extremely user friendly when it comes to photo editing and is what I would recommend starting with. The main tools you’ll probably end up using in Lightroom are clarity, dehaze, temperature, and sharpening. They all do what it sounds like they do, but temperature is a key one. Using the temperature gage, you can adjust the yellowy tint your paper documents may have picked up in non-ideal lighting situations by adding the slightest touches of blue to the image. A word of warning: don’t edit the images too much. You can end up with a much grainier version of the image than you expected.

(#6)

Have two copies at least of those RAW photos you took. You shouldn’t be editing the only copy you have.

(#7)

Pack a good lunch. You’ll work up an appetite turning pages and taking photos. There is nothing worse than a deadly quiet reading room filled only by the sounds of your angry stomach. I’d recommend a lovely quinoa salad with pickled onions with a side of strawberries and Cheeze-its.

(#8)

Now that your images are looking edited and beautiful you can convert the RAW images into a different file format. TIFF is a good bet, but it all depends on the end results you and your archive are looking for. TIFF files are a sort of in-between option of RAW and JPEG files. TIFF images are slightly compressed but still retain a lot of detail, so they’re perfect for uploading to the internet. Everyone’s computer can handle opening a large number of TIFF sized images, but if you tried to work with many RAW images things would get very slow very quickly. You can buy a RAW to Tiff converter on the internet, or you can change them in Photoshop.

Now, I bet you’re wondering why I told you to shoot in RAW if it was just going to be turned into a TIFF image anyway. Well, you can shoot images in TIFF format, but the cameras that can do that are very expensive. If you have access to one go for it, but I’m assuming you don’t have a 3,000 dollar camera lying around.

This chart, by Scott Baldwin Photography, demonstrates how digital cameras process data when saving data as Raw files vs. JEPG or TIFF.
This chart, by Scott Baldwin Photography, demonstrates how digital cameras process data when saving data as Raw files vs. JEPG or TIFF.

(#9)

If you can, take the time to get to know the staff of the archive or repository you’re spending all this time in now. Odds are you’re an outside contractor doing a job funded by a grant and are new to the building. Talk about that cool new true crime podcast you just downloaded. If you already work at this place then it’s still good practice to know your coworkers, so get to it! It never hurts to network, especially if you’re going to be entering the job market soon!

(#10)

I’ve said it before, and I’ll say it again:

BACK UP EVERYTHING!!

Always Night at the Museum

By: Jonathan Green

Sign on Canton Avenue marking the location of the Suffolk Resolves House and identifying it as the headquarters for the Milton Historical Society. Photograph by Jonathan Green.
Sign on Canton Avenue marking the location of the Suffolk Resolves House and identifying it as the headquarters for the Milton Historical Society. Photograph by Jonathan Green.

Since 2014, I have served as the resident caretaker of the Suffolk Resolves House (SRH) located in Milton, MA and curator for the Milton Historical Society (MHS). Over the past four years I have answered one question numerous times: “What is it like being the caretaker for a historic house?” Normally when I reply, I try to convey the fun and humor that I find in the position and simply say, “It is always night at the museum!” The truth, however, is a bit more complex. Serving as a resident caretaker requires constant awareness as to what is happening inside and outside the house to preserve the structure and its collections, while also ensuring that the house and grounds remain safe, functional, and attractive spaces for visitors. In applying for the position, I sought a new professional challenge, and I found exactly that.

Resident caretakers must embrace the phrase “other duties as assigned.” Initially I envisioned dedicating most of my time to collections management and interpretation. Instead, I spent the first few months getting to know the house, and occasionally its collections, by dusting, vacuuming, linseed oiling, polishing, clearing out wasp nests, and attempting to get a handle on the house’s mouse problem. Regardless of my professional interests and aspirations, the house always came first, and I had to be prepared to address problems as they developed.

Sure, it is a unique job, but serving as a resident caretaker is a lot like being a homeowner. A resident caretaker, like a homeowner, must focus on maintaining the interior and exterior of the house, as well as the objects stored inside it. Seasons and weather often dictate how and when certain things are to be done. For example, unfinished thresholds require linseed oil every other fall before cold weather sets in. Other duties like checking mouse traps and bait stations, emptying dehumidifiers—the SRH has three—and dusting and vacuuming the house and its collections occur daily, every other day, and weekly, respectively. As the phrase “spontaneous needs” suggests, this only represents a glimpse of required maintenance.

Front of the Suffolk Resolves House in August 2017. Photograph by Jonathan Green.
Front of the Suffolk Resolves House in August 2017. Photograph by Jonathan Green.

As with anything, however, there are exceptions; in this case two. First, the SRH serves as the MHS’s headquarters. As resident caretaker the MHS’s Board of Trustees acts as my landlord, which means they establish rules, approve expenditures, and determine when the house transitions from private residence to MHS function space. When my wife and I are away from the house longer than twenty-four hours, we have to notify the MHS board, so they can arrange to have someone check the house daily. Other rules include no pets, no children (i.e., dependents living with the caretakers), and the caretakers can only store personal belongings in the three private rooms—bedroom, den, and bathroom—and the kitchen. That adds up to just under 700 square feet- and the kitchen becomes a public space for events. Second, there is no compromise when it comes to what is best for the house and its collections. As resident caretaker my personal tastes regarding décor, ideal interior temperature, and desire (or lack thereof) to conduct maintenance do not matter. While at times the job can be demanding, it is always fun and immensely rewarding.

Emma and Jonathan Green decorating the Suffolk Resolves House in November 2014 for their first Christmas open house as resident caretakers. Photograph by Jonathan Green.
Emma and Jonathan Green decorating the Suffolk Resolves House in November 2014 for their first Christmas open house as resident caretakers. Photograph by Jonathan Green.

Nine months each year, my focus turns to public engagement. This happens several ways. Open houses are the most common, when we invite the public to view the house, grounds, and collections. For these events my fellow board members and I don our docent caps and field any number of questions about the house, the MHS’s collections, and Milton’s history.

For the 2017 Fireside Chats, Green invited Alex Dubois, Curator for the Litchfield Historical Society, and Tom Begley, Executive Liaison for Administration, Research, & Special Projects at Plimoth Plantation, as guest lecturers. In this image Alex ties Milton artwork and portrait painters into a broader discussion about the rise of American portrait painting.
For the 2017 Fireside Chats, I invited Alex Dubois, Curator for the Litchfield Historical Society, and Tom Begley, Executive Liaison for Administration, Research, & Special Projects at Plimoth Plantation, as guest lecturers. Photograph by Jonathan Green.

Fireside Chats in January and February are intimate events that welcome twenty guests to attend a lecture prepared and delivered by the curator at the SRH, complete with cozy fire and refreshments. The Fireside Chats bring together one or more objects from the MHS’s collection to tell a unique and engaging history. My favorite event, however, is the Fifth Grade Tours. In May and June, the SRH is one of several stops on tours that immerses Milton fifth-graders in the town’s historical landscape. After arriving at the SRH, fifth-graders engage in a hands-on Backyard Archaeology activity, and, without fail, these students ask stimulating questions and offer exceptional answers.

For example, when examining a lace-makers lamp we discussed how veteran lace-makers earned the right to sit at first light—right next to the lamp—while less experienced lace-makers sat further from the lamp. One student asked why the more experienced lace-makers needed to sit closer to the lamp. “Aren’t they better at it,” she asked. “So why do they need more light? Don’t the ones [lace-makers] who aren’t as good need more light?” Moments like this, when I did not have an answer, forced me to be the best educator I could by simply admitting I do not know but that I can find the answer. Public engagement like this is what sustains the MHS and is a key component of the caretaker’s responsibilities.

Collaboration. Is. Essential. In December 2014, this contractor repaired a cracked bullseye window pane in the back door of the Suffolk Resolves House.
Collaboration. Is. Essential. In December 2014, this contractor repaired a cracked bullseye window pane in the back door of the Suffolk Resolves House. Photograph by Jonathan Green.

Collaboration is essential. My first week in the position, the MHS president asked my wife, “Are you going to be able to help Jon with all the work? There is a lot of work that goes into this and he’ll need your support.” He was absolutely right. At times, the position can be labor intensive, which is why organizations hiring for resident caretakers frequently hire a dynamic duo rather than a solo caretaker. Plus, resident caretakers cannot know it all. This is why at times I feel something like a general contractor. When the HVAC system’s coolant line malfunctioned in the middle of July, I had to coordinate repairs with the contractor and arrange to have a board member meet the technician at the house because my wife and I could not get off work. You do not have to know everything to care for a historic house, but you do need to be able to troubleshoot, locate experts, and collaborate.

Though you may be doubting it, resident caretakers do have social lives. On average I dedicate about ten hours a week to my responsibilities as caretaker and curator. Most of the duties become part of a weekly routine, so we still go out on weekends. We are even allowed use of the museum spaces to host family and friends. Fun fact: my wife threw my thirtieth birthday party at the house. Just like there is life after thirty, there is life after the duties of caretaker and curator are complete.

After four years serving as resident caretaker and curator for the MHS, there is still never a dull moment. Whether caring for the house and grounds, the diverse collections, or interacting with the public, this job has been one of the most challenging and rewarding experiences of my life. The beauty of the position is that it regularly puts you outside your comfort zone, forcing you to directly confront new challenges by learning, adapting, creating, and collaborating. If that does not sound cool, remember that as resident caretaker, it is always night at the museum.

Jonathan Green received his MA in history (public history track) from UMass Boston in 2016. He is currently Assistant Director of Archives and Digital Assets Manager at Stonehill College.

Alumni Spotlight: Joan Ilacqua

When Joan Ilacqua graduated from the University of Puget Sound in Tacoma, Washington with a bachelor’s degree in American History and Studio Art: Sculpture, she wanted to contribute to history in a hands-on way. She sought and earned jobs and internships at several national parks, including Yosemite National Park and Great Smoky Mountains National Park. However, having graduated during the Recession, Ilacqua decided that seasonal jobs weren’t sustainable. She began looking for graduate programs in the Boston area.

Great Smoky Mountains National Park, 07 April 2007. Image is in the public domain.
Great Smoky Mountains National Park, 07 April 2007. Image is in the public domain.

“I got advice that I could either go to the ‘big name’ program and use that name as I was job hunting, or the ‘little name’ program and do as much as work as possible to network myself,” she recalls. “I chose UMass because it gave me the opportunity to make connections, to work with other young professionals, and to learn from other experts in the field all at a public university. I gained experience from both archives and public history classes that I continue to use in my outreach work today.”

When she entered UMass, Ilacqua initially focused on archives, but soon switched to public history. While in the program, she made good on her decision to make as many connections in the field as possible, working at the JFK Library, UMass Boston University Archives and Special Collections, and the Center for the History of Medicine at Harvard Medical School. She also interned at The History Project: Documenting LGBTQ Boston “because I had an interest in queer history but also because I wanted to volunteer for an organization that could not afford to pay an intern.”

Joan started at The History Project in 2013, and she remains involved with the organization five years later as co-chair of its Board of Directors. “I find it so fulfilling as a queer archivist to be able to contribute to documenting, preserving, and sharing LGBTQ history,” Ilacqua says, “and I’ve gained a wealth of management, fundraising, outreach, and events experience.”

Joan Ilacqua and other volunteers for The History Project: Documenting LGBTQ Boston
Joan Ilacqua and other volunteers for The History Project: Documenting LGBTQ Boston

In addition to sustaining the connections she made at The History Project, Ilacqua now works a the Center for the History of Medicine at Harvard Medical School, an institution she first worked for as a graduate student. The Center “serves to enable the history of medicine to inform contemporary medicine and deepens our understanding of the society in which medicine is embedded.” Ilacqua’s initial role at the Center was as an oral historian, leading efforts to collect stories and other artifacts about the 2013 Boston Marathon Bombing. After the project ended, she continued to work on other oral history and outreach projects for the Center, including the history of diversity and inclusion.

Joan Ilacqua, Archivist for Diversity and Inclusion at the Center for the History of Medicine, 2018.
Joan Ilacqua, Archivist for Diversity and Inclusion at the Center for the History of Medicine, 2018.

In June of 2015, Ilacqua was promoted to Archivist for Women in Medicine. Just last week, on October 1st, the Center expanded the program’s mission to include documenting all people underrepresented in medicine, changing Ilacqua’s title to Archivist for Diversity and Inclusion. Among her many duties in this role, she will advocate for donations of archival materials crated by underrepresented leaders in medicine, establish new collections and acquire accruals to existing collections, build new relationships with potential donors, and promote the inclusion of underrepresented people in medicine through social media, lectures, exhibits, and events. Currently, she is working on an exhibit on the history of diversity and inclusion at Harvard Medical School in collaboration with the school’s Office for Diversity Inclusion & Community Partnership, which is the culmination of an extensive oral history project. The exhibit will be entirely digital in order to promote access throughout the campus community.

Of her position, Ilacqua says, “I find it incredibly rewarding that I get to help cement [records creators’] place in history by making sure that their stories and experiences are documented. Without original documents, and without representation, how can historians write history? I get to make sure that these stories and experiences are preserved.”

The Center for the History of Medicine preserves a diversity of voices in its archival holdings. Notable among its collections are the Miriam F. Menkin papers, 1919-2003 and the Equal Access Oral History Project records.  Menkin was a laboratory assistant to John Rock, the scientist who performed the first in vitro fertilization of a human egg in 1944. Her collection only exists because her files were included in the Rock papers, and were separated out once the Center’s processing archivist realized that she was the creator of the records. Menkin’s contributions to the understanding of human fertility wouldn’t be known if her collection hadn’t been saved. The Equal Access Oral History Project began as an attempt to collect the story of affirmative action at Harvard Medical School and grew to include the perspectives and experiences of faculty, students, and alumni about diversity and inclusion at HMS. This project is particularly poignant because these stories aren’t represented anywhere else in the Center’s collections.

The Countway Library of Medicine, home of the Center for the History of Medicine at Harvard Medical School
The Countway Library of Medicine, home of the Center for the History of Medicine at Harvard Medical School, 1965.

Ilacqua’s passion for diversity and inclusion extends beyond the workplace. As mentioned, she continues to volunteer for The History Project. She is also currently serving a term on the New England Archivists’ Inclusion and Diversity Committee. She hopes that her work on that committee will “help build and maintain an inclusive environment at NEA…in a field that is overworked, underpaid, and often does not create pathways for diversity.”

Through her work at the Center for the History of Medicine, The History Project, and professional organizations, Joan Ilacqua has put her passions for public history, archives, and diversity and inclusion to good use.

Her advice to students seeking to break into in field?

Make as many connections as you can while you are a student. Go to conferences, present at conferences, go to networking events (Drinking at Museums is a great way to meet people and NEA regularly holds networking events), volunteer, get involved with museum and archivist Twitter, read archivist and public historian blogs, do informational interviews. People want to help students, so don’t hesitate to reach out to alumni or to professionals that you admire – the worst thing that can happen is that they say no.

To learn more about the Center for the History of Medicine, its collections, and upcoming events, please click here. Many thanks to Joan Ilacqua for her participation in our Alumni Spotlight series!