Over the past 6 months, I have had the pleasure of working with the Cultural Heritage Digitisation Service team as a DAMS (Digital Asset Management System: software used to manage digital heritage collections) Assistant, working to build the foundations for the migration of these collections from the current DAMS (LUNA) to the new Digital Collections Platform (Archipelago).
The Cultural Heritage Digitisation Service (CHDS) has managed the Main Library’s Digital Wall since it was installed in late 2019.1 The Wall is made up of two sets of nine 4k screens which are operated by touch screens: users can navigate high resolution images of the library’s cultural heritage collections as well as watch videos that feature specific collection items, projects and pieces of work undertaken by library staff. When the Wall is not in use, it displays massive “Attractor” videos which run across all 18 screens, designed to draw users in.
We have started digitising The Witness newspaper!
This twice weekly newspaper was created by the Church of Scotland in 1840 and edited by Hugh Miller (see https://en.wikipedia.org/wiki/Hugh_Miller ), an influential writer, geologist and stone mason. The Church of Scotland wanted a newspaper that reflected a Christian outlook, as well as news and comment from across Scotland. In 1843 The Church of Scotland was faced with 200 ministers walking out citing political interference, an event which came to be known as the Disruption, and led to the Free Church being established. Presbyterianism is founded on the basis that the people make the decisions, not an elite hierarchy, and the only head of the church, is God. This makes The Witness newspaper a fantastic primary source covering a significant event in Scotland’s social and religious history, and as such, a prime candidate for digitisation.
The Association for Historical and Fine Art Photogapher’s (AHFAP) conference is always a highlight of the year and, alongside 2and3D Photography at the Rijksmuseum and Archiving, it has become one of the must-attend events for any cultural heritage imaging professional. This year we were fortunate that AHFAP took place at the National Museum of Scotland here in Edinburgh, meaning for the first time ever the entire Cultural Heritage Digitisation team could attend!
For several months now I have been working as a Digitisation Operator at our studio in the main University library, and that time has flown by. A large part of my job is to take care of orders that come into the Cultural Heritage Digitisation Service (CHDS), which will often be requests from academics or researchers who require a digital copy of something from our collection. This means that I get to see a fantastic cross-section of what we have here, on a daily basis. This will usually be books, pamphlets, letters – any paper-based object that can sit safely on the scanner, and where the digitised copy doesn’t need to be publication-quality as this would be done on the high-quality cameras at a higher charge.
A recent favourite of mine was a set of letters and ephemera relating to a doomed Arctic expedition that set off from the west coast of Canada in June 1913, led by Canadian anthropologist Vilhjalmur Stefansson, and captained by American explorer Robert Bartlett. This was to be the last voyage of the Canadian ship, the Karluk.
In February 2022, PhD students Vesna Curlic and Ash Charlton began their digitisation internships in partnership with the University of Edinburgh’s Library and University Collections and the Centre for Data, Culture, and Society. Together, they reflect on the joys and challenges of digitisation.
We were tasked with an internship project that has two main parts – half our time is spent in the Cultural Heritage Digitisation Service’s Digital Imaging Unit (DIU) in the University’s Main Library scanning early volumes of The Student, University of Edinburgh’s student newspaper. The other half of the time, we work to develop a training pathway for the Centre for Data, Culture and Society which will direct people towards resources for undertaking their own digitising projects. This post is part one of two, reflecting on our experiences digitising The Student.
I was delighted to take on the challenge of helping photograph the University’s collection of notebooks of geologist Sir Charles Lyell, and there’s a bit more to photographing 300 notebooks than one might imagine. The Cultural Heritage Digitisation Service is a fantastic team of people, and quickly welcomed me onboard. Prior to this posting, I’ve enjoyed a varied background, including photographing the contents of National Trust for Scotland castles as part of a major digitisation project Reveal, plus Polar and Northern Lights photography aboard expedition cruise ships.
James Skene was a close friend of one of Scotland’s greatest and most influential writers. By profession he was a lawyer, but he was also a keen amateur artist. Skene and Scott first met as fellow Advocates at the Scottish Bar and were brought together by their common love of German literature. They were subsequently joint co-founders of the Light Horse Regiment and the pair formed a close friendship.
This particular album appears to have fallen into obscurity over the years, as it had been in private collections and out of public view. Skene made these sketches for Scott to use as a reference or aide-memoire when writing his novels. Knowledge of its existence does not appear in any research or exhibitions relating to Scott or Skene. We were very fortunate to have this new acquisition and it was a pleasure to personally handle this beautiful album and see every drawing up close.
For the past eleven weeks I’ve had the opportunity to intern with the Digital Imaging Unit, working on a project to evaluate the potential of establishing a 3D digitisation service within the department. “3D digitisation” in this sense encompasses everything from the initial production of digital models – using suitable items from across the University Collections – to online display, preservation of 3D data, and 3D printing. The project was roughly organised into three phases: research, testing, and implementation.
Although I worked primarily with Susan Pettigrew (Photographer, DIU) and Mike Boyd (uCreate Manager) I always felt supported by the other Library & University Collections staff; everyone I had the chance to speak to was eager to discuss their own work on top of contributing to the project.
In November 2019 the Library excitedly welcomed Sir Charles Lyell’s two hundred and ninety-four notebooks into its Special Collections. With support and funding from leading institutions, groups and donations pledged from over 1000 individuals, this tectonic acquisition meant the notebooks were able to stay in the UK and join the Library’s existing collection of Lyell-related materials. As part of the DIU team, I was lucky enough to photograph Lyell’s notebooks, working with the world’s finest quality cameras to digitise a previously private collection into the public sphere and beyond.