May 23-26, 2006
Ottawa, Canada
IS&T Home
IS&T Conferences
Conference Commitee
Conference Overview
Sponsors
Proceedings
Program
Preliminary Program
Preliminary program (PDF)
Tutorials
Venue
Tours
Tutorials
|
Reminder: IS&T reserves the right to cancel classes in the event of insufficient advance registrations. Please indicate your interest early. Pre-requisites, if required, are noted in the description for each course. |
|
T1A — 4 hour tutorial Tuesday May 23, 2006 , 8:00 am - 12:00 noon Scanning, Document Image Processing, OCR, and Document Understanding Instructor: John Handley, Xerox Corporation | ||||||||||||||||||
|
This course covers the technology of text-based document capture, from scanning to extracting content for storage and retrieval. The presentation will focus on each element of the capture chain and will describe the basics of the technology including performance limitations and pitfalls. No image processing or computer science knowledge is assumed.
Benefits:
Intended Audience: The course will be of use to technical managers, those involved in system procurement, and archival system designers. John C. Handley is a member of the research staff at Xerox Corporation. He has 20 years experience in all aspects of document capture as a scientist at Online Computer Library Center, Xerox, and as a consultant to Lexis/Nexis and Bellcore. He has authored many papers on OCR, document recognition, and image processing and holds 19 US patents in these areas. Handley has taught short courses at Xerox, Cornell, and IS&T conferences.
| ||||||||||||||||||
|
T1B — 4 hour tutorial Tuesday May 23, 2006 , 1:15 - 5:15 pm Evaluating Digital Scanner and Camera Imaging Performance Instructor: Donald Williams and Peter Burns, Eastman Kodak Company | ||||||||||||||||||
|
Today’s standards for characterizing imaging performance are based on image science architecture. We begin by introducing this perspective and then describe its application to scanner and digital camera performance in an archiving environment. The standards and accompanying tools will help the user control tone reproduction and evaluate manufacturer’s claims of resolution, dynamic range, and noise. In addition, we will identify several common image artifacts associated with digital image capture. Our concentration will be on grayscale and color imaging, but bi-tonal image acquisition will also be covered.
Benefits:
Intended Audience: This course is intended for managers, engineers, and technicians charged with evaluating and monitoring scanner performance and understanding how performance metrics connect to other imaging system components such as display, print, and processing. Don Williams is an imaging scientist at Kodak’s Imaging Science Division where he works on quantitative performance metrics for digital capture devices and systems. He frequently consults and writes for the museum and library community on scanner imaging performance metrics and associated standards. He currently co-leads several ISO/TC42 standardization efforts in this area. Peter Burns is also a member of Eastman Kodak’s Research and Development Labs. His published articles and patent activities have been in the areas of detector performance and image noise modeling, image quality evaluation, color-error propagation, and digital image processing. He has taught imaging courses for many years, as an adjunct faculty member at RIT, at Kodak, and at several technical conferences.
| ||||||||||||||||||
|
T2A — 4 hour tutorial Tuesday May 23, 2006 , 8:00 am - 12:00 noon Digital Images: Working with Historical Negative Collections Instructor: Stephanie Ogeneski | ||||||||||||||||||
|
This course is designed to give those working with historical negative collections a fundamental understanding of the relationships between analog and digital images. Participants will explore concepts and methods for creating accurate reproductions of their collections in a digital work environment within the framework of industry standards. Topics will include: basics of densitometry, techniques for calibrating systems, image data and appropriate metadata collection. Issues relating to handling and special applications due to deterioration of the collections will be addressed. Participants will begin to get an understanding of how an image is conceived, captured, and translated by computers and CCD sensors, just like they have been in the past through cameras and film.
Benefits:
Intended Audience: This course is designed for collection care persons, managers, technicians, conservators, and anyone wishing to gain a broader understanding of the digital image. Stephanie Ogeneski was instrumental in the establishment of the digital imaging facility at the Chicago Albumen Works, a firm specializing in the preservation of historical negative collections and vintage media photographic printing processes. She worked on a range of collections for a many museums and institutions, as well as served as the manger of the digital imaging facility until April of 2005. Prior to that, she worked in film duplication and vintage media printing. Traditionally trained as a photographer with a specialization in historical processes, she continues to research digital image file output: film and inkjet as it relates to 19th century photographic processes. In 2004 and in 2005, Ogeneski was the recipient of Academic Specialist Grants through the US Embassy of Mexico Cultural and Academic Exchange Program in which she gave a series of workshops on photographic preservation and new imaging technologies to participants from Mexican cultural institutions. She has also worked overseas for the Nederlands FotoMuseum (formally Nationaal Fotorestauratie Atelier) and received a Certification in Photograph Preservation and Archival Practice from the George Eastman House. For the past two years she has been an adjunct faculty at Simon’s Rock College. Her personal photographic work has been exhibited both nationally and internationally.
| ||||||||||||||||||
|
T2B — 4 hour tutorial Tuesday May 23, 2006 , 1:15 - 5:15 pm When Good Images Go Bad: Understanding Image Permanence Instructor: John Kapecki, Consultant | ||||||||||||||||||
|
We’ll take a look at real world systems, how they’ve improved over the years, how hidden factors can result in unexpected results, and why state-of-the-art imaging systems require new approaches to dealing with image permanence issues. Finally, we’ll take a look at standards, their importance and their pitfalls, and how we use measurements and standards to communicate to the customer what people really want to know. We’ll conclude with a brief look to the future: new technologies for image stability and new uses and expectations for imaging systems. I want you to reach your own conclusions, so I’ll try to provide you with the data you need to apply these concepts to your particular environment and needs. We’ll give you class notes and reference materials you can take home and use.
Benefits:
Intended Audience: This course will be of value to anyone who creates, uses, sells, or preserves photographic-quality images and who wants to understand how these images change over time under the influence of environmental factors. Examples will be drawn from a variety of imaging technologies to understand both their differences and common attributes. Jon Kapecki is an imaging consultant who was a senior researcher for more than 30 years with Eastman Kodak Company, where he studied image formation and degradation processes and new photofinishing technologies. He holds a PhD from the University of Illinois and has taught courses at Kodak, the University of Rochester, and state universities. He has authored several review articles and encyclopedia entries on imaging systems and is a member of an ISO task group on image permanence standards.
| ||||||||||||||||||
|
T3A — 2 hour tutorial Tuesday May 23, 2006 , 8:00 - 10:00 am JPEG 2000 for Image Archiving and Access Instructor: Robert Buckley, Xerox Corpopration | ||||||||||||||||||
|
JPEG 2000 is a state-of-the-art standard for image compression with features and capabilities that make it attractive for image archiving and access. It simplifies image management by reducing the need to maintain multiple image derivatives and enables preservation by providing generous metadata support. JPEG2000 can handle a wide range of applications, including gigabyte and high-dynamic range images, spectral imaging, digital cinema, and on-line image collections. This tutorial will describe the key parts of the JPEG2000 standard, demonstrate its capabilities, and show how it is used in image archiving and access.
Benefits:
Intended Audience: This tutorial is intended for those in the archive, library and museum communities who work with images and image collections, and who want to know what JPEG2000 has to offer and how their application may benefit from it. Robert Buckley, research fellow with the Xerox Imaging & Services Technology Center in Webster, NY, is the Xerox representative on the US JPEG 2000 committee. He was the project editor for Part 6 of the JPEG2000 standard, which defines the JPEG2000 file format for compound and document images. Buckley currently chairs the CIE Technical Committee on Archival Color Imaging. He has given several invited talks on JPEG2000 to the cultural heritage community and has consulted on its use in archiving applications.
| ||||||||||||||||||
|
T3B — 2 hour tutorial Tuesday May 23, 2006 , 10:15 am - 12:15 pm Digital Imaging Architecture for Archiving Applications Instructor: Sabine S?sstrunk, EPFL | ||||||||||||||||||
|
Images optimized for archiving, images optimized for viewing, and images optimized for printing usually do not contain the same digital values, nor should they. Depending on the intended usage of a digital image, its image state—color encoding, resolution, compression, processing, and rendering—needs to be adjusted. In this course, we will cover the workflow from image capture to visualization to archiving, and discuss the appropriate color image parameters for each step.
Benefits:
Intended Audience: This tutorial is intended for imaging managers and technicians in an image archive or library who are involved in the digitization, processing, and maintenance of digital images, and for engineers who develop hardware and software applications for the archival community. Basic knowledge of digital imaging is assumed. Sabine S?sstrunk is professor for Images and Visual Representation at the Swiss Federal Institute of Technology (EPFL) in Lausanne, Switzerland. Prior to that, she was the principle imaging researcher for Corbis Corp. She is the Swiss representative to ISO TC42 WG18, and JWG20/22/23, the ISO committees defining digital photography and color imaging standards. She has lectured and published several articles in the area of color imaging for archiving, and has also consulted with several museums, archives, and companies.
| ||||||||||||||||||
|
T3C — 2 hour tutorial Tuesday May 23, 2006 , 1:15 - 3:15 pm Digital Reconstruction of Faded Color Photographs Instructor: Franziska Frey, Rochester Inst. of Technology and Rudolf Gschwind, University of Basel | ||||||||||||||||||
|
A method to restore faded color materials by digital image processing is presented. A short introduction to the principles of color photography will help understanding the mechanisms of the fading process. Issues related to scanning the faded photographs and the subsequent reconstruction process using digital image processing will be explained. Various examples of reconstructed photographs will be shown.
Benefits:
Intended Audience: This course is intended for anyone who is interested in color photography. No special prerequisites. Franziska Frey, professor in the School of Print Media at Rochester Institute of Technology, teaches courses in materials and processes for printing, image database design, and digital asset management. Her work has primarily focused on establishing guidelines for viewing, scanning, quality control, and archiving digital images. Frey publishes, consults, and teaches worldwide on various issues related to establishing digital image databases and digital libraries. She is also actively involved in several international standards groups. R. Gschwind teaches imaging technology and photography at the Imaging and Media Lab, University of Basel. His research topics are: image processing and analysis, color photography, color imaging, digital archiving, and preservation of the photographic cultural heritage.
| ||||||||||||||||||
|
T3D — 2 hour tutorial Tuesday May 23, 2006 , 3:30 - 5:30 pm Archiving of Digital Data -- A Low-Tech Procedure for Manual Migration in Four Steps Instructor: Lukus Rosenthaler and David Gubler, University of Basel | ||||||||||||||||||
|
Due to rapidly changing data formats and hardware instability, digital data is doomed to undergo periodical migration. Most institutions neither have the appropriate technical nor the financial resources to sustain an IT-system for automatic data migration. A short introduction to the sources of data loss will help understand the key success factors for periodical data migration. A procedure to manually migrate any digital data with standard computer hard-and software is demonstrated. The practical experience of this four-step method will be shared and the strengths and weaknesses of this particular method as well as the economical aspects (cost per Terabyte/year) of the approach will be critically discussed.
Benefits:
Intended Audience: Anyone handling valuable data files as well as managers responsible for the budgeting of data archives. No special needs. David Gubler is a research assistant at the Imaging & Media Lab of the University of Basel, Switzerland. He is member of the advisory board for the MicroArchive Systems and the Fraunhofer IPM Joint Project “NOAH.” He is a founding member of the Swiss Mikrosave® Fachlabor Gubler AG, a service company for digital imaging and archiving. Lukas Rosenthaler is a full-time staff member of the Imaging & Media Lab of the University of Basel, Switzerland. His main research topics are the long-term preservation of digital data and the restoration of movies. He also leads the project team of Distarnet, a P2P based archival system for long-term archiving.
| ||||||||||||||||||
|
T4A — 4 hour tutorial Tuesday May 23, 2006 , 8:00 am - 12:00 pm Cancelled Moving Images on Rolls: The Basics of Motion Picture Film and Magnetic Tape Preservation Instructor: Alan F. Lewis, Consultant in Audiovisual Archives | ||||||||||||||||||
|
This intense, four-hour course was developed initially for the Association of Moving Image Archivists (AMIA) as a pre-conference, basic-training session covering film and video recording. It was then expanded to include audio/sound recordings among other topics. The course is designed for those who find themselves involved with some or all of the “legacy” machine-based AV media: mechanical and magnetic tape sound recordings, motion picture films, separate film sound tracks and videotapes. The focus is on the fundamental nature of these various media and the application of archival principles and procedures to them. The curriculum deals with concepts, terminology, technologies, basic conservation and preservation methods, storage considerations, description, equipment needs, and more. The course gives attendees an opportunity to network with others working in the field and to learn about other institutions that are facing similar challenges. Attendees are encouraged to bring in examples (or pictures) of problem recording media or unusual equipment that they are challenged by.
Benefits:
Intended Audience: This course is intended for archive, library, and historical society administrators; oral historians; archivists; broadcasting and media librarians; conservators; stock footage collections staff; and preservation managers. Film, audio, and video laboratory managers and sales persons seeking information about providing services to the media archives community would also benefit. Alan Lewis has been involved in audiovisual media since 1950. His introduction to the field was as an “AV kid” who set-up the microphones in the auditorium, ran the movie, lantern slide projectors (in the days before 35mm carousel projectors!), and the then newly available ?-inch audiotape recorders. Since his brief post-college career as a stagehand in New York theaters and network TV studios, he has worked as a producer-director, coordinator of program planning and operations and then director of programming at WEDU-TV, Tampa; the director of the Public Television Library and Public Television Archives for PBS; director of the Film and Videotape Archives at CBS News in New York; a self-employed AV archives consultant with clients as diverse and widespread as New York’s MoMA and Oregon’s State Historical Society; and a subject area expert in AV preservation in the Special Media Archives Services Division of the US National Archives and Records Administration. Last year he resumed private preservation management consulting, doing AV preservation surveys, and training staff in film inspection and related matters. Lewis has taught this AV archives basic training curriculum since the early 1980s and estimates that more than 700 people have received this first level of instruction from him.
| ||||||||||||||||||
To report a website error, please contact webmaster@imaging.org
For all other questions E-mail:archiving@imaging.org
IS&T, 7003 Kilworth Lane, Springfield, VA 22151
Phone: 703-642-9090; Fax: 703-642-9094;
© 2005 The Society for Imaging Science and Technology