Creative Memories Digital Software
Lauro Pericles
Recently I had the opportunity to convert Creative Memories scrapbooks into digital photobooks and the five key things I learned I would like to share with you to help you get started: (If you already know this information skip to my followup post on converting scrapbooks into digital photos books part 2)
1) Scanning the pages. You will need a scanner that has a bed that is at least 1/8th of an inch larger than the size of the page to ensure that nothing gets cut-off. I considered photographing the pages however the source of light provided by a camera in the time-frame you will be photographing will change and result in pages with different lighting.
5) Preserve. Once you have received your books back from the printer you will be IN LOVE with the outcome. You will be happy to send off the original creative memories scrapbooks with your kids and display your new versions. Be sure however, to preserve your original edited scans on a thumb drive. Why? If anything happens to the hard-copy books you can easily access the images and recreate. In addition, if you want to access any one individual photo on one of the pages you can do that too. Make sure to scan the original pages at a minimum of 600 DPI so that the individual images offer a good reproduction quality.
Darla,
Thank you for your comment. You are correct about the ongoing preservation of the physical photos. Even if you do not convert into digital books you should still scan the scrapbook pages to preserve the photos and the memories.
I made a completely digital scrapbook for my son in 2003. Working with the limited programs at the time, manipulating pictures with the help of Ulead Photo Impact 3 and adding clipart and digitally scanned images to pages in Microsoft Word 97. Capturing my sons elementary school years digitally was a blast but a huge project consisting of 267 pages in total. I often wondered if it was a first of its kind.
Hi Debbie,
If you want to scan the scrapbook pages here is the company that provides the scanner that you need: EZ photo scan. If you decided to purchase you would need a PS80 and the A3 flatbed. The A3 flatbed only works as an add-on item (hence the purchase of the PS80). You will need to indicate the DPI using the settings via the scanner software. You will need to adjust the bleed in a editing software, Adobe Photoshop Elements is an easier one to learn. Let me know if that helps!
I have used the high resolution scanner at our public library. Just have the librarian check your flash drivers make sure you have all your scans before you delete from the scanner. Our library also has an amazing scanner to scan delicate scrapbooks that wails be damaged by flipping face down on a regular scanner. The historical librarian is extremely helpful.
This course will explore issues raised by digital media and other forms of "time-based" media for preserving memories of today (and of the past) for tomorrow. It will examine the place of new media in cultural heritage preservation from two different perspectives: computer-based media as a tool for preserving and disseminating other forms of cultural heritage (ex. "digitization" initiatives) and the preservation of "works" created using digital media or time-based media as cultural heritage. How have new uses of rapidly changing technologies transformed notions of what constitutes cultural heritage and influenced ways of preserving it?
(Terminology: The terms "time-based media", "variable media" and "contingent objects" are used by conservators and curators of contemporary art, technology and culture to refer to a variety of practices, not all of which are based on digital media. For example, "time-based" art includes performance and works created using processes that involve interaction with publics as well as creative practices using ephemeral materials. "Variable media", a term used in media studies and the museum field includes creative processes using impermanent materials, processes based on systems that rapidly become obsolete (like internet protocols) or other types of work in which the object is not the principal record of the creative act).
Mandates and professional codes of ethics developed in the twentieth century for cultural heritage institutions (like museums and libraries) were largely premised on storage of documentation or objects as records of creative acts and lived experience (ex. artworks, specimen collections, data sets, publications and so forth). New technologies for creating, recording and disseminating images, text and sound offer possibilities for expanding what is collected by heritage institutions, for example, documentation about so-called "intangible" heritage (such as performed and spoken arts). However digital media involve impermanent materials, systems and hardware that rapidly become obsolete and may rely on interactive interfaces with "users" or "performers". In such cases conservation traditions developed for older forms of cultural heritage are difficult and sometimes even impossible to respect.
New conservation strategies include migration (the practice of transposing works into new media, such as converting analogue recordings to digital format, or upgrading software), emulation and reinterpretation or re-creation (for example in performance art). Such strategies often entail overt decisions to prioritize some elements of original works and preserve some types of cultural heritage while sacrificing others. How are such decisions made? Who can (or should) make them (creators, collectors, publics...)? When conflicts arise what principles prevail? Contemporary conservation issues related to digital and time-base media provide rich opportunities for rethinking ethical, legal, aesthetic, scientific, technical, economic and political issues related to cultural heritage preservation.
It will take place on Tuesday, 14th February, 2023 and we welcome all local, national and international people interested in this topic to join us at the Faculty of Fine Arts of the University of Porto.
The PCD23 is a voluntary and open-to-participate organization of the Communication Design, Visual Arts and Drawing bachelor degrees designed for the entire creative community. Organized with support of the Art, Design, and Society Research Institute (i2ADS) as part of the overall initiative of the Processing Foundation.
MoredetailsHERE.
The PCD23@Porto is promoting and organizing a set of activities such as the call for works and a comprehensive set of open-to participation workshops that will lead to the main event day on Tuesday, 14th February 2023.
Information Vizualization with p5.js:2nd, 4th & 6th January, 2023
(Workshop to be held within the context of the Web Design, Interaction and Videogames and the Design and Technologies for Health Postgraduate courses Program. Workshop held online. English-speaking attendants are welcome. Details T.B.A.)
Anna Carrerasis a generative artist and creative coder focusing her work on theuse of algorithms to create visuals that foster memories or evocatenew ones.
She codes her work from scratch to create images that cannot be achieved in any other medium. She isinterested in complexity that emerges fromsmall simple behaviours. She wants to foster diversityand explores the balance between order and chaos in which nature and daily life seem to besuspended.
She draws inspiration from her Mediterranean culture and landscape to translate it into abstractvisuals. Vivid digital images, static or dynamic,geometric or organic, but always unpredictable andunrepeatable, even by the artist herself.
She has exhibited at Feral File, Art Blocks Curated and CVerso galleria. She has also developed andexhibited generative art and digital installationsin renowned national and internationalinstitutions, museums and festivals like MUTEK ES+AR, Snar Festival, Eufnic Urb Decentraland,VeniceArt Biennale, Medialab Prado Madrid or Abandon Normal Devices Liverpool, among others.
Twitter: _anna