Digitization Case Study: Point Ellice House

Point Ellice House Background

The Heritage Branch, of the Ministry of Community, Aboriginal and Women's Services, operates thirteen unique historic sites, divided into three geographical regions within British Columbia. Jennifer Iredale is the Curator for the Coastal-Okanagan region and is responsible for the Curatorial supervision of each site, including Point Ellice House in Victoria, BC. The main office for the Heritage Branch is located in downtown Victoria, which is within close proximity to four of these sites.

Point Ellice House was home to the O'Reilly family, a pioneer family of British heritage. Located on the Gorge waterfront in Victoria, Point Ellice now stands as a remarkable representation of class-conscious life in the Victorian era and holds the largest collection of Victoriana in Western Canada. The House was erected at the end of the Cariboo Gold Rush, shortly before Victoria was established as BC's capital in the new Dominion of Canada. In 1867, the O'Reilly family moved into Point Ellice. Between the years 1867 and 1974, three generations of the O'Reilly family kept their home and belongings in good standing order. In 1974, this stately home, property and entire collection were sold to the Government of British Columbia and designated as a heritage site. Within the rooms of Point Ellice, several displays present the astounding collection of Victoriana imported from England as well as objects acquired by the family in Canada. For more information, please visit the Point Ellice House Web site "A Collection of Victoriana", at http://www.tsa.gov.bc.ca/heritage_branch/heritage_sites/point_ellice_house.htm.

Digitization Project Objectives

The objectives of the Web site production were not only to document the collection, but also to provide access to digital images, educate life-long learners, and to encourage and share research on a common platform.

The Projects:

1. In the mid-1990s, a professional photographer and his assistant photographed 300 objects on 35mm film in the Point Ellice drawing room. All of these images were burned to CD, as a form of backup, at the cost of $50.00 per CD at London Drugs.
    
2. In 1996, the first phase of the Point Ellice House Web site began. The project manager relayed Jennifer Iredale's concepts to the technical team. At that time, the technical specialists concentrated on mapping Microsoft Access into an online database. Both technical specialists were required to familiarize themselves with Nomenclature and Authority lists. The Heritage Branch purchased a digital camera in this phase, which has been used in all subsequent Web site productions and component digitization projects. However, the first capture process was a failure, as only 40 of the targeted 300 objects were digitized. This was due to miscommunication, as the objects were photographed as a series of vignettes to be used in the virtual tour rather than photographed individually on a backdrop.
    
3. In 1997, the second project manager was able to successfully differentiate between the two types of images necessary for the project. This manager communicated the Curator's concept to the production team and divided digitization into two parts, one for object preparation and the other for the capture process. In this phase 300 digital images of the Point Ellice drawing room were uploaded to the database.
    
4. In 2000, a professional photographer was hired to photograph 40 images of garden instruments for use in a gardening publication. These images were photographed with a colour bar and scale.
    
5. Liberty Walton was the project manager for the third phase of Web site production in 2001. Responsible for the digitization process, she worked with the database specialist to upload 100 digital images to the online database, including the 40 images of garden instruments. Liberty digitized the remaining 60 objects, which were a combination of artifacts photographed with the digital camera at Point Ellice and archival photographs scanned at the Heritage Branch.

Description of the Digitization Process

Management of the Digitization Projects
Jennifer Iredale has managed several digitization projects at Point Ellice House. Her role, as Curator for the collection, was to direct the Assistant Curator and instruct the individuals responsible for the digitization process. Within the Heritage Branch, the Assistant Curator was primarily responsible for collections management on site, and assisted with the digitization projects by retrieving the objects out of storage or display. The Assistant Curator was not involved in the technical details of the digitization process, but supervised handling procedures and the individuals responsible for the task.

All digitization projects have been a component part of the Point Ellice House Web site productions, of which there have been three phases. These phases of production included capturing new content and uploading images taken by professional photographers, who were hired specifically to produce material for an exhibition or publication. In each Web site production, they required at least one skilled individual, with an interest in putting heritage online and the technical experience to make it happen.

As a part of the Web site productions, each digitization project has had different objectives. The project objectives depended upon the project's timeframe, which was usually less than a month, and the number of hours the production team could dedicate to the project. The digital content produced for the projects were part of a complex Web site production, usually four months in length, with larger goals and objectives. Standards for quality and the targeted number of objects were developed in each scenario to meet the individual digitization project objectives.

The project objectives also depended upon the Heritage Branch, which is an output-oriented agency. The agency stipulates that all digitization projects must result in a final product that can be utilized by the BC Government to illustrate benefits for the public. The Web site production was used to present the results of a digitization project. The Web site production not only provided the Heritage Branch with an opportunity to digitize the collection, but also the greater public with access to digitized material online. As stated by the curator, digitization for a purely documentary purpose is not the primary goal of the Heritage Branch Web site productions, but is always a major consideration.

Funding provided by federal initiatives was used to develop the digitization projects. Applications for funding were accepted by Canada's Digital Collections, a Web site development initiative of Industry Canada. Industry Canada became the major springboard for digitization projects at Point Ellice House, funding three phases of Web site productions since 1996.

The Museum Assistance Program (MAP) has also been an aid to data conversion and the development of collections management software. MAP funding was used for the construction of an in-house collections management database in Microsoft Access, between the years 1993 and 1995. This database provided the electronic framework for the management of the collection, before the objects were digitized. The software program was configured using the Canadian Heritage Information Network (CHIN) Humanities Data Dictionary that allowed for an effective data structure, able to accommodate the possible exchange of records/descriptions from one system to another. Future utilities could be developed to map over the descriptions, within the exchange format standards. Workshops provided by CHIN as well as the Cultural Resource Management Program at the University of Victoria were an aid to vision in terms of utilizing the Web, digitizing collections, and creating both in-house and online databases. These workshops and the standards developed by CHIN were extremely useful, often providing the team with a common platform for discussion. The Point Ellice online searchable database, providing records with matching images, proved to be extremely successful. The on-line database provided the ability to access the collection, in digital format, at any time. This proved extremely useful as the curator is based in the downtown office location and not onsite at Point Ellice.

Digitization and Web site Teams
The structure of teams and individual responsibilities differed with each digitization project. Depending upon the project's scale and objectives, either a Web site team with a lead project manager was created, or a professional photographer was hired. The expertise of the Web site team supported the individual responsible for organizing and preparing the objects for digitization, capturing the object, and uploading the digital content onto the Web site server.

A project manager was hired for each phase of Web site production, to lead the Web site team and instruct the individual responsible for digitization. The project manager was often a student of the arts under thirty, with a focus on museum studies. The project manager was responsible for communicating the curatorial concepts to the team, and selected the content to be captured. This arrangement allowed the Curator to maintain her conceptual vision and focus on pushing the bounds of online heritage for the development of educational resources.

Members of the Web site team had backgrounds in either the arts or technology. While a few students were hired from computer studies and graphics programs, the project manager, researchers and educators were involved in art history or education. One youth, hired to manage and update the online database, was contracted for each phase of production. At least three people per team were hired for these phases, at an hourly wage of eight dollars. While training and production was slow, their fresh approach and new ideas were valued. In order to close the technical gap between the Curator's concept and the production process, a professional with a strong background in information technology was contracted to work with the team and provide the necessary training.

Regardless of the project size and the equipment used, all images were to be made available in digital format and uploaded to the Point Ellice Web site. Often, the photographs taken by a professional photographer with a 35mm camera were scanned and burned to CD. If the professional was not able to upload the images, the next Web site team was responsible for this step.

The Digitization Process and Equipment Description
In phase three, Liberty Walton, the project manager was responsible for selecting the objects to be digitized, based on what was required for the educational section (Teacher's and Kids Corners) and the virtual exhibition. The virtual exhibition was based on Liberty's research and showcased archival photographs in the collection.

The Assistant Curator retrieved the artifacts, which were packaged in acid-free paper and boxes. The project manager transported these to the onsite lab, an area designated to the digitization of three-dimensional objects. All equipment was purchased during the first phase of Web site development, and included a digital camera, tripod, spot lamp, gray paper and brown velvet backdrops (the gray paper is specialized, used to reduce shadows), and acid-free foam (used to support the objects). Each artifact was displayed, according to care and handling standards, on the selected backdrop and labeled with an accession number. The objects that were the most difficult to display were the framed archival photographs, as the reflective glass caught any source of light from the overhead bulbs, camera flash, or natural light.

The camera was set to capture the images in color, at the highest resolution possible (for that camera), in a TIF file format. An advantage to the digital camera was the ability to see immediate results. Images could be deleted if they were too dark, poorly composed, blurred or reflected a light source. Each image was downloaded to a desktop PC computer at the Heritage Branch and the original digital images were stored in a separate system directory. The brightness and contrast of all images were adjusted and the file was renamed to reflect the accession number. Separate directories were created for the duplicates. Two sizes of images were produced, thumbnails and images with a maximum width of 200 pixels. All duplicates were saved as a JPG file, at 72 dpi with a file size of less than 50 K. The originals and duplicated images were burned to CD, and both sizes of duplicates were uploaded to the appropriate directory on the server for use in the online database.

The project manager also selected and retrieved the archival photographs, because many of these images were to be used in the virtual exhibition. These photographs were transported in acid-free paper and archival boxes to the Heritage Branch. Using the HP Scan Jet flatbed scanner, each photograph was scanned as a sharp, black and white image at a maximum length or height of 10 inches. The original resolution was 300 dpi. All original scans were saved in a folder, with separate folders created for the duplicate images. All duplicates were adjusted, cropped, saved, and uploaded according to the same process as the images created with the digital camera.

Successful Processes

The quality of images depended upon the project objectives. Professional quality photographs were required for publication or for use in a catalogue, whereas the images for the Web site online database or virtual exhibitions were not required to meet professional standards. At times an experienced professional photographer used a 35mm camera to take high quality images with a color bar and scale. The photographer was required to have an in-depth knowledge of the equipment, as well as an excellent eye for composition.

Overall, most photographers involved in the Web site productions were able to produce high quality images with the digital camera. The quality often depended upon the photographer's choice of backdrop, lighting, and composition. The original captured image was important for archival purposes, but for the most part, most images were developed for use on the Web and would appear as low-resolution, thumbnail images. As long as the image was composed well and most details were visible, the images for Web site productions did not have to meet professional standards. All levels of quality were considered a success, and even the use of a disposable camera produced snapshot images that were suitable to be scanned into digital form and used on the Web site. Jennifer Iredale (the Curator) believes there is value in both snapshots and professional quality images, as they both can serve documentary purposes. It is better to document several objects in the collection than to spend time and resources perfecting fewer images.

Processes that would be Handled Differently

• The group dynamics worked well and involved a mix of professionals and students. This mix provided excellent short-term results, however the long-term results were less successful. In Web site productions and their component digitization projects, the youth were willing to start work at a low wage. However, youth that stayed on the project for approximately three years became unhappy with these wages.
• These projects were handled mostly by youth with a fresh approach to Web site productions, however the enthusiastic attitude and willingness to work for eight dollars an hour disappeared over time. The curator recommends a rotation of all team members after three years, and the ideal team would involve at least one experienced professional capable of guiding the students in the area of information technology.
• The Curator would also strive to dedicate more time to Web site productions, meeting weekly with the team.
• The production storyboards, including the detailed list of objects to be digitized, must be discussed with the Curator before production begins.
• The Web site product and content must be reviewed on a regular basis, away from the Heritage Branch and all distractions.

Processes that would be repeated

• The Curator would continue to make all digitization projects output orientated, as this has been the most successful approach to communicating educational resources and documenting the collection at Point Ellice House.
• Ongoing evaluation of the individual objectives of each digitization project, in order to determine the best individual or Web team with the necessary skill set(s) for the job. This would include the project manager (who would communicate the curatorial concept to the team, handle the collection, and edit all content), a graphic artist to design Web pages, a database programmer to update the online database, and an individual who would act as content developer, researcher and writer.
• To continue to work with a project manager focused on museum studies with the ability to understand and communicate curatorial concepts.
• To continue to capitalize on the project manager's interests, whether it is the use of frames, ideas about virtual reality, or an interest in archival photographs. Whatever the case scenario, the Curator must remain an intimate part of the process.
• At a minimum, the Curator would require the photographer to meet the targeted number of images and quality standards.
• Would ensure that the digitization projects group similar objects for preparation, in order to increase productivity, as it is best to package and transport small batches of objects.
• Assess the size and type of object. It may be best photographed while on display, rather than moved to the lab for digitization. For example, if window sheers are best presented within the original scope and setting, the photograph could include both the sheers and the window.
• Professional images should continue to use a colour bar and scale, this is considered a bonus for digital images and snapshots.
• In future digitization projects, the Curator would be more specific on the type of hard copies made available at the end of the project.
• Depending on the project objectives, schedule and budget, the photographer should provide the images in as many formats as possible.
• Photographers that use 35mm film should provide negatives, prints and digital copies of the images on a CD.
• Those working with the digital camera should provide the original and duplicate digital images on CD.
• All image file names should contain the accession number and CD covers should have a picture index with the corresponding accession numbers.
• All thumbnail and full size formats must be uploaded to the online Point Ellice House database.

  Summary

  With each phase of Web site production, the ability to meet the objectives of the digitization projects increased. Working with the project manager, the Curator was successful at determining what part of the collection could be captured at a certain level of quality, within a specific timeframe and budget. Although secondary to good communication, the skill sets of the Web team were an important contributing factor to the speed, accuracy, and quality of images produced within the project constraints.

  Future digitization projects will continue to contribute images and data to the online database. Providing access to the collection on the Web has not only increased awareness of this historic site, but the Web site has been used to encourage and receive contribution from several groups, including antiquarian collections, songwriters, O'Reilly relatives, and educational agencies. Most of these groups have linked to the Point Ellice site, providing free advertising. Jennifer Iredale will continue to promote the Web as a method of visible storage, emphasizing the ability to view objects stored on site. In terms of providing a venue for research, the Web site has been well used by life-long learners of all ages. As a component part of Web site productions, the results of the digitization projects went far and beyond original expectations.

  Interviewee:	Jennifer Iredale, Heritage Branch, Ministry of Community, Aboriginal and Women's Services Victoria, BC
  Interviewer:	Liberty Walton
  Edited by:	CHIN