Digitisation of Traditional Format Library Materials

Care and Handling Guidelines

DISCLAIMER: The National Library of Australia disclaims liability for the use of the information provided in these pages. The National Library of Australia accepts no responsibility for the loss occasioned as a direct or indirect result of the use of the information in these guidelines.

Care of our collection is paramount and correct handling is an important part of the digitisation process. Specific care and handling guidelines are prepared to aid Library staff in the digitisation of each collection to hand. These 'generic' guidelines are also observed. These guidelines should be applied to the special collection materials - maps, manuscripts, photographic items and artworks.

Anyone should receive instruction from a trained conservator before beginning any treatment of collection items.


General rules


Maps, plans and charts

To capture oversize items such as maps, the National Library has a vacuum-easel on which the item can be held in place by suction whilst being scanned. A studio camera with a digital back is supported on a track system, which also makes setting up easier.

In general:

Types of maps:

So called because they are printed on a particular type of tracing paper, butter maps often have a slight yellow tint. This type of tracing paper deteriorates quickly as the process of making it translucent makes them acidic. Once it becomes acidic the paper becomes brittle and hard to handle. Most of these maps should be repaired before digitisation. Some of these maps may be brittle and encapsulated in a polyester sleeve and should be scanned enclosed in this sleeve. As these maps are quite translucent they will take on a darker or lighter appearance depending on the background chosen. By placing a white piece of paper behind the map, details of the map are made clearer.


Photographic materials

Depending on the physical format, artworks and photographic material may be digitised using a flat-bed scanner, digital camera or film/slide scanner.

In general:

Types of photographic materials:

Glass plate negatives or transparencies are fragile because of the nature and age of the glass.

  • When handling use a mat of soft material to place glass material on.
  • Do not leave glass plates on light boxes for over long period of time, it may soften the gelatine emulsion.

Nitrate film can be hazardous as it can self-combust in some circumstances and can be difficult to extinguish when ignited. Nitrate should be stored separately from other collection material. When nitrate film deteriorates it can produce nitric acid fumes, which can damage other collection material stored in the vicinity.

  • Wear gloves or house items in polyethylene sleeves so they can be handled. Deteriorated nitrate materials may cause skin rash.
  • Work in a well-ventilated area.

Cellulose acetate film is also known as 'safety film' and has been widely used as a film base since early 1950. When acetate film starts to deteriorate it gives off acetic acid vapour, this phenomenon is known as the 'vinegar syndrome', because the vapour smells like vinegar. Once deterioration progresses the base material shrinks and the emulsion later starts to warp and wrinkle creating a web-like pattern. A pink or blue discolouring can also occur.

  • Wear gloves or handle items in a plastic sleeve.
  • Work in a well-ventilated area.
  • Photographic prints are commonly gelatin or albumen-based and in good condition. However, broken, torn, or cracked photographs should be handled in a polyethylene sleeves or with an archival board support.
  • If a photograph has a flaking binder layer or friable surface do not place the item on a flat-bed scanner - use an overhead camera.
  • Use a soft brush or blower brush to remove loose dirt or dust.
  • Consult a photographic conservator to perform repairs or for further advice.

Cropping images with decorative supports and borders

Most albumen prints and black and white gelatin prints from the early 1900s to late 1960s were adhered to a secondary support. Often these supports have a decorative edge applied by the photographer or owner. It is important to consider whether these decorative supports should be digitised as part of the object or as a whole. Digitising the support will increase the file size of the image but you will be documenting the item. So it is important to consider the purpose of recording these images. Decide if the record is for access or preservation or both.

Silver mirroring

Silver mirroring is a bluish metallic sheen appearing on the surface of silver based photographs or negatives as result of ageing. The oxidation ageing process causes silver particles to migrate to the surface of the emulsion.

It may be difficult to digitise these items as the scanning light may hit the silver mirroring areas causing the light to reflect. To avoid this, moving the item around to another position helps.


Artworks

These guidelines concern the care and handling of art works on paper (drawings, watercolours, prints and posters).

In general:

When capturing:


Manuscript items

A manuscript collection can include sheet music, note books, diaries, correspondence, reports, drafts, maps, plans, charts, photographs, x-rays, pamphlets, forms and faxes. They are usually held together by string, pins or paper clips in a folder.

Most items can be digitised on the flatbed scanner. If you come across material with a friable surface such as pastel, watercolour, and graphite or charcoal they should be digitised with an overhead camera. Bound material should also be digitised under an overhead camera using a supporting cradle. Please refer to a conservator if you are unsure.

When capturing:

Top

About This Site | Copyright | Privacy | Accessibility | Site Map | Site Search | Content A-Z | Contact Us