 All right, welcome to the next session at Big Talk from Small Libraries 2017. Digitize It Yourself, a method of in-house digitization. Mandashep is on the line with us from Luleydale, New York, my home state. I'm originally from New York. Not near Buffalo, about five hours away is where I'm from. But upstate New York, none the less. And many said in this presentation, this proposal about doing your own, I thought it was really great for small libraries. Digitization is a huge thing going on in lots of libraries. We have a program here in Nebraska for libraries to do it. It can be intimidating. And how do you do it? And I think this is going to be a great session to see you can figure out exactly how you can actually do this yourself. So I will hand over to you to take it away. All right, hello. So a little bit about my library. I am a rare books and special collections facility in a spiritualist community. It's a very historic place. It began in 1875. The library was originated in 1886. So it's a really old collection that I'm working with for the most part, not a lot of new acquisitions. So my primary focus since I started in 2014 has been digitizing our more fragile and delicate materials. This process is something I've developed at my last few jobs. And I find that it really works for me because of the types of materials that I work with, lots of newspapers, lots of books. You get the random 3D object here and there, because it is a historic vacation destination. There are old souvenirs from the town that we have in our collections that I'm in the process of digitizing, old music books. So there's a pretty healthy variety of stuff. So essentially, this process has kind of been carrying me through in my digitization. I'm currently using it for two separate projects. One is digitizing issues of a newspaper that was published in Lillydale to kind of get that out there because it's not really available online. And I am also digitizing spiritualist music books. They're very interesting and unique. So as I've sort of touched upon why do it yourself, a lot of institutions don't really have the funds set aside, especially if they're rural and small for a massive digitization thing. Sending a lot of your materials to vendors can get quite expensive, depending on how much stuff you have to digitize. If it's fragile, it can be sort of a risk to send it. I'm sort of a control freak, so I like having things in my own situation and I like being able to take part in the process because I feel it gets me to understand the materials and the content of the collection a lot better. So it's something I've really enjoyed doing as a process. I don't find it to be a very technically difficult kind of thing and I find it to be an approachable science. For a newspaper project, we worked with a local college and got an intern. So she's a photography major and she's been working with me along on this project and some of her work is in this presentation as well. So advantages to using the black box or chamber method. It's basically a portable photography studio. You get a lot of better focus with your camera on the object being photographed because it sort of separates it from the background. You have a lot more improved control over your photographic lighting. The box itself is black. It's made out of foam core board and it's lightweight, so you can unfold newspapers inside of it. It's spacious enough to accommodate a variety of materials. And because of the texture of the paper that the foam core board is made out of, it basically acts like a funnel for light. Light sources above or natural light sources or if you have tabletop lights that you're using, it basically sucks up all of the available light and leaves your item that you're digitizing to sort of pop out against that background. It also adds to the consistency of background in your shots and it makes the editing process of these a lot easier. It's easy to use. I mentioned I have interns that I've trained, student workers. You can kind of apply this to them if you have those in your library or if you have a library assistant or even an active volunteer. It's a very open-ended thing. Like I said, you can use it with two-dimensional and three-dimensional objects. If you have a maker space, you can also use it as a sort of set box for stop motion animation and things like that. I've seen people use theirs in their library in a variety of ways in addition to the digitization aspect of it. So you can use this in your library or in museums. I have used these for, for making virtual tours and like a visual catalog. You can use them for small runs of in-house collections if you have, say, a collection of 30 items that needs to be digitized. Sometimes a vendor's price will be a little bit striking for 30 objects depending on what those objects are and how far you have to send them and how much money you have allocated for stuff like this. And it's, I find in my experience, it's a bit easier to just do it yourself in-house. You can also test larger-scale projects, digitize a few items with it and see how you enjoy the output of it and see how it looks for you. And then you can sort of take that to your board of directors or take that to your administrators and see if they think that this is worth digitizing and what it would look like or even to display the urgency of digitizing something. You can also use this to create sample images to apply for grants and funding for larger-scale digitization projects. And I have used it at home for a few image-capturing things for, like, eBay sales, things like that. So now that we know about this delightful thing and how to use it in theory, let's see how we construct one. So as I mentioned, you will need foam core board. I used the 30 inch by 20 inch. You need four sheets. I used my trusty hot glue gun. I find that you can build one of these on around four cylinders of glue. Little tiny plastic clamps are very lightweight. They don't puncture your board. I find if you use the smaller metal ones, they do tend to puncture the corners of the board. But if you don't mind, that's OK. Right angle brackets like the kind he would build a shelf with. All of this, all of these materials are things you can find out of Michaels or at a hardware store. So it's not like these are exotic items that you have to get from far away. A straight edge like a yardstick works perfectly and an exacto knife, box cutter, sharp scissors, one of something like that. So step one, you take your two of the four boards. You glue them together at a 90 degree angle. It's important that you work quickly because hot glue dries really, really, really fast as the crafting ones among us know. It's easier to do this with two people, because you can work at a much faster rate to assemble it successfully without having the, oh, no, I have to take it apart and do it again, problem. So once that is no longer hot and stringy, you take your brackets, you clamp it in place, and then you sort of fill that seam with glue to make it reinforced. You can leave it like this for a while to let it dry, reinforce it even further if you need to. What you're basically doing is trying to fill in the crack between the two boards so that light can't filter in through it behind the box, because this can affect how you capture the items in it. So you're basically making a light seal for it. So once you have your back in base, we're going to make the sides. You take one board, glue it to the other two boards along a side, and then you repeat this sort of process where you, once you have it in place, you put the clamps on, you put the brackets on, and then you reinforce it, fill in any small cracks, make sure that the boards are tight together, and then you repeat this with the fourth side. So you should end up with something that looks like this. I have used it like this with just the edges hanging off in the past, but I have found that sometimes this can create shadows, depending on what other sorts of light you have in the room. Like towards the front of your object, if you're using tabletop lights, it can make a weird light effect. So I've found it's easier to cut them off. So you basically score your edges with your box cutter or razor blade, X-Acto knife, et cetera, and yardstick, and then you put it against the edge of the table and just snap it right off. You do this with both sides of it, and then you can kind of clean up your edges if you need. So yes, this is detailing the snapping off process. You can do it relatively neatly. But you want to keep the brackets and clamps on during this process because I have found the extra reinforcement for them is a little bit more advisable. But when you're ended up, when you are finished with this, you'll have these nice neat square edges. So hooray, it's built. So let's find out how we go through and use this. This is what my space looks like in my library. I've had a lot more questions in the past on the technical aspect of the rest of the process, so I'm going to get into that more right here. Any questions? Feel free to pop them up whenever if you need. So this is my space. This is a bound journal. It is standard, like, broad sheet newspaper size. And it fits comfortably in here. As you can see, there's not a lot of excessive shadows or anything, and most of the light is focused on the object itself naturally. Inside of that book, this is what the raw image looks like. I prefer to capture two pages at a time, if I can, if the binding allows me to. But as you can see, it's just a very raw image, but mostly it's flat, it's centered, and it's clear to read. If you zoom in on it, you can see even the very small newsprint, which is difficult from a lot of newspapers at this era due to the very small font that they're pressed in. So after you capture your raw image, it depends on how you would like to display your collection. Some display methods, people just use PDFs and make them into, like, a searchable text document through an optical character recognition process. You use specialized software, and the program reads the text. It gives you an output that mirrors the text in this document with the text that is on your PDF, that is actually in the newspaper. You basically go through and check it and make sure that everything lines up correctly, and then you have a searchable PDF from this. So in order to make a searchable PDF, you make your editable images from your master TIF files. You organize your files in whatever naming convention and system you need to. You upload your images into a PDF creation program, like if you have an Adobe Acrobat Suite, or if you are making PDFs from a software editor, or not a software editor, a photo editing software, or ABBYY is an optical character recognition software that I'm currently using. It is basically the top of the line. It has the highest recognition rate between the native text in your PDF image and the output of the text that it recognizes. So I would recommend ABBYY. There are some other optical character recognition programs out there. They even come on your phone. If you have a smartphone, there is one called Cam Scanner. It's a very nice app-based program that takes very quick PDFs, and it also has a pretty decent OCR rate. So anyway, after you have your PDFs, you stitch your images together or you keep them in individual pages, whatever your display method requires. You can OCR them if necessary, and then you display it proudly. If you are not doing text-based things or if you would not prefer to have your text searchable and you just want it in a easily viewable format, which is a little less work and a little bit more digestible sometimes, it basically depends on your patron base and how they're going to use it. So you would make the same tip files from your master, your raw data, and your master images. You organize them in their preferred system, whatever naming conventions you need, and then you edit the images using a Photoshop or the free version of Photoshop. There's an open source program, which is basically like a free version of Photoshop called GIMP, a new image manipulation program. I like it. It has a lot of the same characteristics, a lot of the same tools. There's a few slight differences, but overall I find that it gets the job done. Then after that, you preserve your images in whatever format you would like and display your collection proudly. So to kind of visualize this conversion process, because I know that's a lot of words I just sped at you, you take the raw data from your camera. When you take an image of an item in the box with a digital SLR camera, like we use a Canon, you end up with a raw data file if you are not taking it in a JPEG or something like that. The whole point of digitization is to preserve as much information in the images as possible. So you're really trying to get the largest amount of stuff in a single take that you can. It's going to give you a clearer text. It's going to make the processing a lot easier. It's going to give you a lot more to work with. Like with a lot of practices and crafts, it's easier to subtract than it is to add. So you start with a bulkier image and then you sort of take away from it and pair it down into its final form. Size-wise, you're talking about an image file that's about 40 mags to an image file that's about six mags. So it's going to play a role in how you store these projects as well. So this is from our current project, the Sunflower newspaper. These are images from my intern, Brittany Ford. So this is the image that she starts with. It's the bare bones image of the newspaper. It's going to be at a high DPI rate, which is going to be the amount of pixels that fit in your picture. So the higher your DPI saturation, the more information will fit in your picture. She's been taking these at 600. Most common displays want them at about 300, so that also gives you an idea that you're downscaling. So you take your image, this is what you get. I will walk you through the process of how you get your TIF out of it. So if she's using a Mac, this is Lightroom, but it would be the same in Adobe or any other sort of PDF creative program. So she's adjusting her edges first she changes it to black and white because it makes the rest of the process easier. You can change it back from black and white, but it also depends on how you are going to display it, whether or not you're going to OCR it, what you're going to do with the final product basically. So she's black, it's black and white, and now she's going to crop it and take the edges down so we can just focus on the text because that's going to be the final focus of our project. Once the edges are aligned and the text is straight, there's no tilt to it, there's no kerning or key stoning or anything, she can crop down the edges so that you have just this bare text at the bottom. And then from this point, you have basically what you're going to work with in the final product. So she's going to export it to PDF or export it to TIFF so that you have this, this is going to be your master image that you're making the PDFs from. So this is a simplified version of the raw data that you start with. And then this is your final image that you will start the second part of the process with. So as you can see, it's a little bit crisper to read. The text is jumping out from the page a little bit more. Keep in mind this newspaper is from 1905, so it's thinning in the paper. The text is so dark in some instances that you can see the reverse side of the page through the page you're looking at. And that does play a role in how you process the images, especially if it's acidified paper and it's getting to a point in its age where the ink is starting to see through in every, in places that you shouldn't see it, basically. So I'd like to show you some examples of collections that I've digitized with this method. First is the Nickel Snake Oil collection. This is a collection of patent medicines that are basically sold in those old medicine wagon shows and fake mail order remedies and fun things like that. It's held at the Center for Inquiry Libraries in Buffalo and it's currently up on New York Heritage. Is there a lot of people out there now? A lot of kids. Is it two, 30 now? It's getting there. Okay. Can everybody see this? Yep, it's going through nice. Rightful. So this is a patent remedy for Dr. Thomas' Eclectic Oil. It was digitized in the black box. Oh, sorry. We used a lined paper behind it. The texture of the gray paper was basically chose to focus the light before the camera preservation process because it is a medicine collection. You're dealing with a lot of glass bottles. So they are an item that's difficult to capture because they do reflect the light. So it's important if you're using a reflective object to have something behind it in the background that can absorb the light and sort of diffuse that effect basically. Next, the Skeptizium is also in the Center for Inquiry in Buffalo, New York. They have a senior research fellow that has a massive collection of skeptically-oriented items. And he was in the process of creating a digital museum. We used the OMEKA platform, which is a digital display software. We're considering restructuring it because the user interface isn't exactly what we wanted. He wanted something more like an actual museum that you walk through. So I'm also considering a virtual reality display for him. So this is an item from the Skeptizium. This is a shrunken head. As you can see, it's also very, very textured, but to preserve the museum aesthetic, it was done against black velvet. So you have a variety of textures here which plays an interesting role in the photography process. The hair is going to absorb a lot of the light. The wood is going to reflect a lot of the light and the skin itself is very papery and thin. So it's another thing that sort of mutes it. It was a somewhat difficult item to photograph, but I think the capture process was pretty worth it. Next, the Robert Graininger Cell Birthplace Museum is a small institution and dressed in New York. They have a virtual tour. This was an item that was very interesting and is a spoon with Robert Graininger Cell head on it. I thought it was very interesting and neat. Also difficult because of the, it's a silver spoon so it's incredibly reflective. Another tenuous item to capture, but the importance is the paper and the textures that you use in the background. Finally, I'd like to show you another newspaper that I have digitized. This is in the database of the International Association for the Preservation of Spiritualist and Occult Periodical. They are a fun group. They're a bunch of researchers that works in spiritualism to research the edgier parts of the history gap, basically. So this is one of their final PDF products. And as you can see, it is searchable. If you type any event, it takes you to any word that is done or anything that contains that word and this is done with the Optical Character Recognition software ABBYY. It gives you a nice clean document to work with in the end. So that is why it's my choice. Currently, I mentioned I'm working on digitizing music books and the Wrapping Up the Sunflower project. My next project is going to be digitizing precipitated spirit paintings. That will be interesting because most of them are large. A lot of these are life-size portraits of people. So it's going to be a fun challenge. As I sort of mentioned before, once you have this ability to digitize and this little space to do it in, you might want to get some supplements. They're not all necessary. With certain objects, I've found that tabletop lights do help. They are about 60 bucks for a decent pair of them on Amazon. You can get little tabletop-sized ones. I have little LEDs that have barn doors and different little plates that you can stick in front of them to change the tone and color of the light. And if you want to get fancy with it, you can totally get fancy with it. You also need a digital camera that's capable of taking TIF quality raw images. Again, you want a 600 or over DPI for your initial capture process. And then you can pare it down from there to make it usable. You will also need photoprocessing or editing software like Gimp or Photoshop or ABBYY or Lightroom, depending on what you're using this collection for and how you want the public to use it. Optional catnod included. I have found today that this also makes an excellent cat trap. So if any of you have cats that need a tiny clubhouse, that is another use, apparently. Multi-use, yes, good idea. And I hope that I haven't fired you to go forth and digitize. Yes, indeed. So if anybody has any questions, I know I'm ending a little bit early, but I usually get more process in the questions than anything. Yep, we do have a few questions that have come in. If anybody does have questions, use the questions section of your GoToWebinar interface. I can see those questions coming in and I will share them with Amanda here, so she can answer you. Let's just start at the first one we got here. How do you deal with copyright or are you only digitizing pre-1923 items? Because of the age of my collection, the majority of these are pre-1923, but they are also the ones that are in the most need of assistance. My library originated in a tent, so a lot of the books have been exposed to the elements along the way. We're on a lake, on a beach, so there's quite a bit of that going on. The building was also recently heated about seven years ago, before that it has no conditioning, so the collection is exposed to some extreme conditions in the weather. So that's mostly my issues with it. Other than that, I haven't really come into a lot of copyright fanangos because the people having me digitize their items were the owners of those items or it wasn't really a copyright thing. But that's basically my experience with it. You're doing a lot of really historical stuff, obviously. So it's kind of almost a moot point for what you're doing. I was going to ask you about your building. You'd said how old the library itself was, and I was going to ask you about the building. Is the building that old? How old is where you were actually in? And now you've just said you were originally in a tent? Yeah, in 1886, our founder, Marion Skidmore, started a tent outside of her house that was the tent library for the town. But Lillydale started as a summer religious camp town. So a lot of people live in cottages. Now they lived in tent houses previously, like their little structures made of just canvas flaps. So it was seasonal. It was only seasonal, right, not year round. Yeah, it reflects that in our patriges now. We're still a very much a summer tourist attraction kind of thing, or vacation destination. So summer, I get a lot of people coming in and out. We have a historical documentary that we show in the mornings about Lillydale. We do lectures, all my programming is only for nine weeks in July and August, and that's about all I get. Other than that, it's just me and myself and my digitization project. Okay, let's, next question we have, and actually a few slides ago would answer this question potentially. Could you use your cell phone to capture the images? Oh yes, depending on the level of camera that you have, some modern cell phones are like, especially the newer iPhones, the Google phones. Motorola has a phone out that has a full camera on the back that also has a pretty good megapixel count. But if you have something over nine megapixels or so, you can probably use it to make a very successful PDF or digitized image. Again, it all depends on what you're using it for. If you're using it for like a state-funded project, sometimes they have more strict requirements and parameters. But if it's for your own in-house thing and you just want it for your own storage or your own use, yeah, if it works for you, sure. No, it would have to be up to a certain level in order for the OCR software to capture it, if that's the route you're going. Yeah, if that's... Searchable, you'd need it at a certain level. Definitely, yeah. Yeah, in order for you to have the heavy-weighted, data-filled images to pare down into the final thin, nice, pretty image. So, go ahead, try and see what happens. Oh, yeah. Okay, if when you're doing a book like you had in your first example with a book opened up, if the book spine doesn't allow the pages to lie flat, do you have de-curling software or do you use a special stand? How do you deal with a book that won't open up nice and flat like that one in your example? With some of my more problematic pieces, I have an acrylic book cradle, like one of those display things that has it open at a certain angle so that you can kind of read it and then I will just hold down the edges with book snakes. To do the best that you can get in there, yeah. And you can always just angle the camera to get as good a view, I suppose, to get a picture. Oh, yeah. That's kind of the advantage to this move over scanning if you're not just smoothing the item, you can kind of digitize and capture the item within the confines of the item itself. So if there's something you have to hold a certain way or work with, it can make it easier. I've worked with a couple of bound volumes that are extra wide and you can kind of lay only one side flat and have the other side kind of leaning against the edge of the container. But it's not exactly un-condusive to capturing the image because at least you have one side flat. Again, it all depends on the particular item that you're using, too. That actually goes to another question that I've got a little farther down here about. How do you hold the camera there? Do you have it mounted on something on a tripod or you just, how are you doing the camera setup? Because you built, described about building the box and everything, but I wasn't sure about that. The camera itself is what we're using. That all sort of depends on the item and also on the photographer. My intern is a photography student, so she just kind of wung it and free-formed everything and just had the camera in her hands because she was comfortable getting the angle she needed. I have done that before, but there are certain items where I have used a tripod at a distance away. For the skepticism, I had some very small items. There was a clay figurine that was buried with, it would be a little thing that you would wrap into a mummy. So it's about an inch and a half tall and it's made of clay and I had to zoom in ridiculously far on it and I didn't want to take the image too many times. So I had it on a tripod for level and just zoomed it right in and got the image I needed. For something like that, we need to make sure the details of it, especially also like that spoon or something that you want to not be, you need to be very still to make sure that it comes through and those materials that are not just journals or newspapers, they need a different way of doing it. Yeah, it's the nice part about it is this way allows you to be a little more flexible and you're not really forcing your items to do a thing that they might not be okay with doing. Okay, lighting question. You did mention recommendation for lights to buy to have. Do you use diffusion for book lighting? Do you use multiple light sources and how about for textured and sculpted objects? Basically, what's the lighting situation depending on the item you're, for each of the kinds of items you've done? For books, I have found using natural light for the most part is the best. It kind of gives you the best quality but that could also be my reading room. I have really bright overhead lights and that's the only light source in the room. They're very centralized and they don't give a lot of shadows or anything. So I have preferred that. For some of the other things, especially reflective items, light can be really hardcore and difficult. Capturing a spirit trumpet, which is basically a very long cone made out of tin. They're very, very reflective objects and capturing them was one of the most difficult things I was doing. Basically, to do it successfully, I used full scale lights, like video lights, like 12 inch LED lights behind me and diffusers that were closer to the table to kind of soften their reflections against the light. But because of the extremely low lighting to not reflect on the trumpet itself, I ended up basically doing Victorian SLR photography. It took me almost 90 seconds to fully capture the image. Once I pressed the shutter button, so it was a really intense process. So it looks like there's a lot of experimenting for different items to figure out what works best in the end. Basically, yeah. It allows you for a greater experimentation to kind of figure out what works for you and what works for your item because there's, especially for interesting libraries with interesting collections, and I know that there's a lot of them out there. Even historical societies can have a variety of very cool things. There are quite a few around me that have very, very interesting objects in need of digitization and we've found approachable solutions for a lot of them. There's a lady around here that has used this for glass lantern slides. Oh, okay. By putting one of those drawing desks under it that illuminates the paper. Yeah, if you're wondering, uh-huh. By putting the slide on that, because the images were starting to kind of decay and chip away, she wanted to get them and didn't really want to send them out because they are quite fragile. So we back illuminated it, blocked off the lighting from the table and just captured the illuminated slide. Cool, okay. Yeah, we have here in Nebraska, a Nebraska Memories Project where we host here at the Nebraska Library Commission, collecting different, putting different collections from different libraries and historical societies around the state online, but it is specific to certain things, paper items, newspapers, postcards, photographs are what we have in there. I think this would be very useful for places who have other physical items that they might want to digitize that aren't being put into some collection they may know about, something like this that is trying to get all these Nebraska things together. We have certain things. We don't, just based on what we've decided, the content of this particular thing are going to be, they would not fit into that. This would be great for those places that have other stuff that they want to digitize just that we're not doing. Oh yeah, that's part of our program, yeah. If I know we've had certain things have been offered to us and we sometimes have to say, well, that's not really the, in our collection development policy for this project, so try some things, yeah. All right, we'll ask you for questions. So what are the, if there are advantages of photographing a book rather than scanning it? Or what's the difference? It depends on the fragility of the item. My items are pretty fragile and the process of physically taking a book and smushing it into a scanner. Not a good idea. Doesn't really do well with the spines. Also, because of the uniqueness of our items, I don't really have the luxury of stripping the book from its cover and feeding it through a sheet scanner. That would be a wonderful problem solver, but then I wouldn't have any books and I would lose my job. Right. But it depends on a case by case situation. Like if it's a book that you have the only copy that you would like to preserve or make available online, if you have the capability to do that with copyright, it's useful to kind of do something like this in a way that won't destroy the original item. And that's something that is a tenuous topic in the field of digitization. Some people just know it's all about the information and who cares about the physical object, but there are other people that just know that the physical object is fine. Don't hurt it. Yeah, but that's as important as well. The actual, yeah. Yeah. It did come there to actually want to see the item in hand, yeah. Oh yeah, like particularly in my institution, people have a lot of emotional attachment to the books in it. It's a place where people's families have been going for generations, where someone's mother or grandmother or great aunt had been a librarian or had written a book that's in our collections. We've had, one of the most touching experiences I've ever had was watching a lady who came in, her great aunt had written this lovely book of poetry that's got this beautiful gold embossing on the front and it's just this lovely beautiful book. And it was signed and she had never seen a physical copy of the book before and she held this book and just whacked. And I couldn't take that experience away from that lady. No, no, no, you can never, yep. Why? See, books are important, not everything needs to be digital only. Exactly. All right. All right, oh, someone just have a tip about if you are doing the, photographing them, make sure to look up your camera models lens distortion characteristics. For example, GIMP has an add-on that compensates for distortion. So sometimes see what your camera has, see what these software programs have. Yes, really, I do a good picture. Yeah, you'd mentioned the one, the cam scanner. I have that on my cell phone, I actually use it to take pictures of things like recipes and whatnot. And then like I said, they are searchable, which is really very useful. Yeah, I use it for so many different places. Yeah, I use it for e-reference a lot. There are certain people that just, I need this page of this book and that's it. And I can just, oh, make a quick PDF and there it goes. Send it off, awesome. How, someone is trying to figure out if they have time to do this kind of thing. How long would you say a hundred page book would take to do, just to get, photograph and take care of like. This is a process that the more you do it, the faster and better you get at it. Your first few pages might be a little clunky. When my intern first started, she was getting about five minutes a page or so because she wanted to adjust everything and make it just right and perfect. And then after her first round of editing, she realized, oh my God, I can fix all of this later. Why am I taking so long? And she got down to about a page a minute. The group of researchers from the IAPSOP that had that light newspaper, the searchable PDF that I showed you, they come in every few months and just mass digitize using this method. There are just four guys, they come in, they take off their shoes, they take a stack of books and then they just go and they are in there for like six hours. Wow. So it might be a kind of thing you just don't devote like a whole day and say, I'm doing it. Oh, it is their lifeblood. Dang it, I don't know. But in that six hours, they will go through six or seven bound volumes of newspapers and come out with about 64 gigs a piece of captured data. Nice. So it can be a pretty quick and healthy process. I would say if you're doing a hundred page book and it's not too difficult to open it to each page and it's somewhat simple to get through, you could probably have a finished product in about three weeks safely. And a lot of the work, like you said, going into the editing afterwards to make it usable enough depending on what you're doing with it. Yeah. Yeah, once you get into the process. Okay, I have a couple of last questions here. You mentioned the Omica platform for digital display. What other resources can you use to display the images? Hold these. Recommend. There are a lot of softwares out there. Archivematica is one that lets you do a lot more in-depth cataloging and organization of your items. There is, there's like a, I think it's just called the collection or collection software. But that is another open source web platform based one. A lot of people use like Flickr or things like that to host some of their collections. You can use it on a web platform. You can build a nice beautiful gallery out of like a Squarespace website which is another really easy display method if you just want to create your own website for your digital collections. That makes it, it's a service that makes it amazingly easy to do so. Okay, and is that, what are, somebody asked about yours, well you're doing multiple collections. So the ones that you listed there is the examples. Are those all things that are part of your library or just the collections you did for other organizations? Oh. Or make sure. Okay, before I forget, there is another major display thing, Content DM. Is it a very major display software? It depends on your level of patience and amount of metadata, I think for ease of use with that one. And what you have, yeah, because you had listed a bunch of different collections there, obviously you were doing work for some organizations. And someone wants to know, can your items be searched from outside the specific organizations? Are they just in-house or are these all like public online where anybody can go and look at them? Most of them, yeah. The Center for Inquiry Collections, the Skeptizium and the Snake Oil Collection. The Snake Oil Collection is available on New York Heritage which is a statewide digital consortia of digital collections from local institutions and historical institutions, historical society, stuff like that. So there's it's physical objects like two and three D objects like postcards, ephemera, I think like that. The Sunflower will be up on New York Historic Newspapers which is a free database of newspapers published in New York State beginning in 1800s. But the Robert Ingersoll is also a branch of the Center for Inquiry Libraries and they are, they're in Dresden, it's a physical museum but their entire collection is available online viewable as a web tour. And the IAPSOP database that's fully available, fully searchable and they've got an amazing array of stuff. Yeah, and I know I saw these, there were links to all these in your presentation slides too. So yeah, afterwards when we do have this up you'll be able to get to those links or just search them. I'm sure a good Google search will come up across all, where all of these are located online. Okay, we're right at 3.50 p.m. central time. Anybody have any other last minute questions, anything you want to throw out right now while we're still here in this section of Big Talk? No, did everybody get their questions out? Looks like it, okay. Well, you know where to find Amanda, there's her email, Twitter account there. She'll be happy, I'm sure, to give you any input and ideas about what she's doing. Oh yeah, your own project's going. I'm also on LinkedIn. You're on where? I'm also on LinkedIn. Okay, awesome. Thanks again for letting me do that. Yeah, thank you, it was very, like I said, very useful, very interesting. I was glad to see, like I said at the beginning, when people get into this thinking about digitization, it can be high technology. I need to know, I need to have this huge piece of equipment, something fancy. I just can't think about it, and not always, no, you can do it yourself. It can be approachable, yes. And I'm glad that the step-by-step was just awesome. Yeah. Well, thank you. All right, great, thank you so much, Amanda, all right.