Amsterdam: Elsevier, 2006

583 p.: il, 25 cm.

1. Digitising documents for public acces.--1.1 The British Library.--1.2 The Library's digitisation programme.--1.3 Standards and guidelines.--1.4 Digitisation methods--1.5 Case study - Collect Britain.--1.6 Users.--1.7 References.--1.8 Further reading: Neil Smith (British Librar
2. Digitising rare books and manuscripts.--2.1 Introduction.--2.2Surrogates.--2.3 Challenges.--2.4 Passionate Commitment.--2.5 Faithfulness.--2.6 Completeness.--2.7 Authenticity.--2.7 Authenticity.--2.8 Archival File Repositories and Derivatives.--2.9 Experimentation.--2.10 Identification.--2.11 Consumer demands.--2.12 Strategies.--2.13 The future.--2.14 Conclusion.--2.15 References:Czeslaw Jan Grycz (Octavo, Oakland, USA)
3. Digitisation programmes in the V&A. 3.1 Introduction.--3.2 Photography of the V&A collection.--3.3 First steps towards digitisation.--3.4 Image identification.--3.5 Getting started with digitisation.--3.6 Image management.--3.7 Imaging applications.--3.8 Future Plans.--3.9 References:James Stevenson (V&A Museum, London)
4. Digital access to a photographic collection.--4.1 Introduciton.--4.2 The alinari photo archive.--Architecture of the database system.--4.4 Cataloguing: population the dabase.--4.5 Search engine modes.--4.6 Software system.--4.7 XL-Image software.--4.8 Image compression.--4.9 Conclusions.--4.10 References.--4.11 Web Reeferences:Andrea de Polo and Sam Minelli (Alinari, Firenze, Italy)
5. Digitisation in the commercial art world.--5.1 Introduction.--5.2 Stakeholders and user requirements.--5.3 Process flow.--5.4 Digital Camera selection.--5.5 Modifying existing workflows.--5.6 Colour image processing.--5.7 Workflow from photography to print.--5.8 Developments over the past decade.--5.9 Conclusion.--5.10 References:Anthony Hamber (Independent consultant, London)
6. User requirements for metric survey.--6.1 Introduction.--6.2 Non-image-based survey techniques.--6.3 Image-based survey techniques.--6.4 3D laser scanning.--6.5 Compasiron of Techniques.--6.6 Summary.--6.7 Acknowledgements.--References.--6.9 Web links.--Glossary:Paul Bryan (English heritage, York)
7. Principles and evolution of digital cameras.--7.1 Introduction.--7.2 Components of a digital camera.--7.3 History of Digital Cameras.--7.3 History of Digital Camercas.--7.4 Film Camera versus digital camera.--7.5 Image processing.--7.6 Conclusion.--7.7 References:Peter Rudolf (Jenoptik, Jena, Germany)
8. High resolution imaging in the near infrared.-- 8.1. Introduction.--8.2 Infrared reflectography of ancient paintings.--8.3 Developments with CCD technology.--8.4 Infrared examination of papyri.--8.5 Conclusion.--8.7 References:Duilio Bertani and Luca Consolandi (INO; Firenze, Italy)
9. image resizing - the limits of image processing.--9.1 Introduction.--9.1 The continuous image model.--9.3 The driscrete cosine transform.--9.4 Image spectra and Aliasing.--9.5 Image resizing.--9.6 The fourier transform of the conituous image.--9.7 Conclusion.--9.8 Bibliography:Alfredo Giani (University of Padova, Italy).
10. Image databases and access.--10.1 Image databases.--10.2 HOw images are stores and retrieved.--10.3 Searching.--10.4 Delivery of images.--10.5 Metadata standards.--10.6 An image database in practice.--10.7 Image database architecture.--10.8 the image database API--10.9 References:MIke Stapleton (Systema simulation limited, London).
11. Colour management in heritage photography.--11.1 Introduction.--11.2 Colorimetry and colour vision.--11.3 Colour Appearance.--11.4 Colour Measurement.--11.5 Goals of colour encoding and reproduction.--11.6 Properties of coloured media.--11.7 Characterisation.--11.8 Colour management using ICC profiles.--11.9 Using profiles in a colour reproduction workflow.--11.10 Colour management issues for heritage photography.--11.11 Conclusion.--11.12 References:Phil Green (London College of Communication)
12. Image compression and JPEG2000.--12.1 Introduction.--12.2 Image compression steps.--12.3 Advantages of JPE 2000.--12.4 Document compression.--12.5 Market acceptance and products.--12.6 Application at alinari photographic archive.--12.7 Application at the German resistance memorial centre.--12.8 References:Thomas Zellman (Algo Vision Lura Tech, Berlin, Germany)
13. Assessing image quality.--13.1.--Introduction.--13.2 quality in image reproduction.--13.3 Image quality assessment.--13.4 Dimensions of image quality.--13.5 Image quality metrics.--13.6 References.--13.7 Bibliography.--14. Imaging historical architectural sites for conservation.--14.1 Introduction.--14.2 Photographic techniques.--14.3 Object characteristics.--14.4 Photographic equipment.--14.5 Setting the scene.--14.6 The VITRA project.--14.7 Site testing.--14.8 Summary.--14.9 Acknowledments.--14.10 References.--14.11 Graphics.--14.12 Registered Trademarks:NIck Becker (English Heritage), Barbara Schik (BLFD) AND Keith Findlater (Colour & Imaging Insitute, Derby)
15.1 Introduction.--15.2 Survey of Stained glass studios.--15.3 Pthotography of Stained glass.--15.4 Camera characterisation.--15.5 Removing shadows from inages of stained glass.--15.6 Image sgementation.--15.7 Feature extraction.--15.8 Image mosaicing.--15.9 Conclusions.--15.10 References:Lindsay Mac Donald (London College of Communication), Keith Findlater, Richard Taso Song, Algredo Giani and Shanmugalingam Suganthan (Colour & Imaging Institute, Debery)
16. Making online monuments more accessible throuch interface design.--16.1 Introduction to interface design.--16.2 Digital cultural heritage.--16.3 Audiences.--16.4 The experience od digital cultural heritage.--16.5 Access to digital cultural heritage.--16.6 Technology.--16.7 Review of European funded projects in the field of digital heritage.--16.8 Conclusions.--16.9 References:Cristiano Bianchi (University College London)
17. Visualisation of Panoramic images over the inerntet.--17.1 Introcution.--17.2 The geometry of Panoramic images.--17.3 Rendering panoramic images as 3D objects.--17.4 Progessive comression of zoomable panoramic imatges.--17.5 Conclusions.--17.6 Acknowledgements.--17.7 Bibliography:Franceso Aru, Pietro Zanuttigh and Guido M. Cortelazzo (University of Padova, Italy)--
18. 3D virtual restoration of polichrome sculpture.--18.1 Introduction.--18.2 3D Digitisation.--18.3 Creating the 3D MOdel.--18.4 Simulating Surfaces in 3D.--18.5 Visualising polychrome sculpture.--18.6 St. Chrisopher.--18.7 the domition--18.8 References:Angela Geary (Camberwell College of Art, London)
19. Digital imaging for easel paintings.--19.1 Introduction.--19.2 Imaging for technical examination.--19.3 Imaging for publication and conservation documentation.--19.4 Acknowledgements.--19.5 References:David Saunders, John Cupitt and Joseph Padfield (National Gallery, London)
20. Research policy and directions.--20.1 Introduction.--20.2 Background to research policy for digital culture and heritage.--20.3 Case study: the introduction of digital imaging and multimedia to a Museum.--20.4 Attitudes and uses: implications for research.--20.5 The future of digital heritage research: the state-of-the-Art and scenario building.--20.6 Picture credits.--20.7 References.--Index:Tom Evans (Wavecrest Systems, London)

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