Posts tagged ‘digital collections’
At the end of April, after ten months of planning, coordinating, and troubleshooting, the Smithsonian Gardens Orchid Collection (SGOC) went live. No, we didn’t kill off all of the plants over the winter and revive them for this announcement . . . I mean live as in on-air, online, and freely accessible! SGOC is now available for the world to explore on the Smithsonian Collections Search Center and is the only living collection to join the multitudes of objects, specimens, and archival records that are contained within the site. Below is a snapshot of what an individual catalog record looks like:
Records are updated twice a month and contain basic information about each accession, such as scientific name, flower color, range (if a species), and taxonomy. One of the best parts of having the collection online is being able to peruse the beautiful images taken by our talented volunteers Gene Cross, Bryan Ramsay, and James Osen. So far, about a third of the records have images associated with them. We only photograph the orchids when they are in bloom, but many of our orchids (especially the species) are either too small to bloom, or haven’t yet bloomed during their time at the greenhouses.
SGOC’s presence on the Collections Search Center is serving as motivation to improve Smithsonian Gardens’ collection records in BG-BASE and correct plant identification errors. Our hope is that these records can be a valuable resource for educators, students, researchers, and curious individuals, and a source of orchid inspiration year-round.
-Julie Rotramel, Smithsonian Gardens Living Collections Contractor
This article was originally published in the National Association for Olmsted Parks online newsletter. April 26th is Frederick Law Olmsted’s birthday; celebrate by visiting a local park!
Several hundred photographic images dating from the early twentieth century and taken by Olmsted Brothers’ employee Thomas W. Sears were digitized recently thanks to a project funded by the Smithsonian Institution. The glass plate negatives are part of the Thomas Warren Sears Collection at the Smithsonian’s Archives of American Gardens (AAG).
The historic images include unpublished views of early Olmsted design projects including the Emerald Necklace in Boston and Roland Park in Baltimore. There are even a handful of images of Fairsted, the Olmsted firm’s office in Brookline, Massachusetts.
Sears started his design career with the Olmsted firm and later went into private practice in Philadelphia. Among his most noted commissions are Reynolda, the R. J. Reynolds estate in Winston-Salem, North Carolina (now part of Wake Forest University) and the Colonial Revival gardens at Pennsbury, William Penn’s country estate in Bucks County, Pennsylvania.
An amateur photographer, Sears documented several projects of the Olmsted firm, his own design work, and numerous gardens and landscapes in the U.S. and Europe that he visited. The Sears Collection at AAG includes over 4,500 of his images, dated approximately 1900-1930.
The 900 Sears images digitized for this pilot project are all available on the Smithsonian’s online catalog at www.siris.si.edu . Their resolution is truly remarkable: it is possible to read the caption of a framed photograph seen in the background of Sears’ dorm room at Harvard University!
Approximately 20% of the Sears Collection was digitized during the rapid capture digitization project. The time needed to capture a high resolution digital scan of each fragile glass plate negative was under a minute as compared to 9-14 minutes per scan that AAG staff had been averaging with a flatbed scanner. The Archives of American Gardens hopes to secure funding in the future to digitize the remainder of the collection which includes Olmsted gems like New York’s Central Park, Buffalo’s Delaware Park, and Branch Brook Park in New Jersey.
-Joyce Connolly, Museum Specialist
Here at Smithsonian Gardens we are celebrating American Archives Month throughout October. In August 2013, we participated in the first of a series of pilot projects, funded by the Smithsonian’s Digitization Program Office, to create high resolution images of archival, museum and library collection items at a rapid speed. The pilot project included a week-long open house for Smithsonian staff, fellows, interns, volunteers and contractors, to showcase the rapid digitizating of over 900 historic glass-plate negatives from the Thomas Sears Collection at the Archives of American Gardens. The open house demonstrated all stages of digitizating a glass-plate negative collection, from moving each fragile plate in a custom carrier, capturing it, and performing quality control on the resulting image, to making the digitized output accessible to the public online. The overall process involved an outside contractor performing the image capture and image processing and two staff members from the Archives of American Gardens prepping the images, handling the glass-plate negatives, ingesting the images into the Smithsonian’s Digital Asset Management System and linking them to pre-existing catalog records in the Smithsonian’s online catalog, SIRIS.
The 8×10 negatives, which had previously been digitized in the 1990s on a video disc at 640 pixels on the image’s longest side, were obviously pixelated in SIRIS. New scans of the negatives created by the vendor through rapid capture were digitized with an 80 megapixel camera. The quality of the new scans, measured at roughly 10,000 pixels on the longest side, ensures that the Archives will likely never have to scan the glass plates again. Rapid capture is not new, but the tools to measure the quality that can be achieved through rapid digitization are. For any large scale digitization projects of like materials, the Archives of American Gardens hopes to secure funding to digitize archival images through the rapid capture process instead of its current method of digitizing on a flatbed scanner.
To put it into concrete terms, the time that it takes to scan one image on a flatbed scanner is roughly 12 to 15 minutes. To digitize one image using rapid capture, it takes less than one minute. Rapid capture has opened our eyes to a highly efficient method that enables an entire collection to be digitized in a quantifiable time frame. The piece of the puzzle that remains to be addressed is the time-intensive process of cataloging that is needed to make the collections readily searchable online.
Background on Thomas Sears
Thomas Sears graduated with a degree in landscape architecture from Harvard University’s Lawrence Scientific School in 1906, where he also studied photography. He worked for Olmsted Brothers Landscape Architects in the 1910s out of their Brookline, Massachusetts office before establishing his own landscape design office.
A set of images scanned during the rapid capture digitization project included the Edgewood estate in Baltimore, Maryland, photographed by Thomas Sears and designed by Sears and Wendell of Philadelphia.
Learn more about the Thomas Sears Collection.
Click here to learn more about the Archives of American Gardens.
-Kelly Crawford, Museum Specialist