Formats Newsletter Simple Storage Service
Formats Newsletter Volume 1
July 2014
Issue 1
This month learn all about MICROFILM!
IN THIS ISSUE A Brief History An Inside Look: Construction & Composition From Now to the Apocalypse: Life Expectancy The White Glove Approach: Handling Microfilm
The DOs and DON’Ts of Storage A Shy Medium: Loan & Exhibition Half Way Between Paper and Digital: Reformatting & Treatment
A Brief History Microfilm had its beginnings in the 19th century. In 1839, daguerreotype photography was introduced to the French Academy of Science, and in that same year Englishman John Benjamin Dancer coupled this photography process and a microscope to successfully invent microphotography (Cady, 1990; Daavid, 2005a). In 1859, Rene Dragon was granted the first patent for microphotography, and in 1891 Madsen received a
U.S. patent for a microfilm camera (Daavid, 2005a; Daavid 2005b).
As an evolution of microform, microfilm gained commercial success during the 1920s following the development of the Checkograph machine by a New York City banker. The machine made copies of bank records. Eastman Kodak bought the invention and began marketing it to a wider audience. The New York Times began utilizing microfilm in 1935 and Harvard University began
utilizing microfilm in 1938 for its Foreign Newspaper Project. Harvard’s use of microfilm set the standard for archival preservation in American libraries and archives. 1938 also saw the formation of the University Microfilms, Inc which filmed and distributed microfilm editions of academic publications. In 2001, UMI was absorbed by Proquest
Information and Learning Company. New technology, more information, and increased funds lead to the widespread use of microfilm in the 50s, 60s, and 70s. With the rises of digital technologies in the 1990s microfilm fell in use, and today there are some who believe microfilm has been replaced by digitization (Ferrari, 2010).
An Inside Look: Construction and Composition CONSTRUCTION
COMPOSITION
Microfilm is most commonly found on 16mm and 35mm film rolls. Film can vary in thickness depending on the components used in its various layers. Microfilm has six layers listed here from top to bottom:
The two main components of microfilm are:
• • • • • •
Overcoat – thin layer that protects emulsion layer; anti-scratch Emulsion layer – Composed of chemicals that create the images when processed (chemical composition varies with type of film) Substratum – thin layer that bonds emulsion to Base/Support Antihalation Undercoat – layer of light absorbing dye (becomes transparent in processing) Base or Support – a flexible plastic material (type of plastic varies) Backing – usually made of gelatin; prevents curl (Kodak, 2002)
• •
The type of plastic used for the base The chemicals used in the emulsion layer
Bases Throughout the history of microfilm, there have been many film bases. •
•
•
Cellulose Nitrate o Flammable o Releases hazardous gases as it breaks down o Stopped use in the 1950s because it was not considered safe. Cellulose Acetate o Touted as a safe film o Not flammable o Still subject to breakdown Polyester o Both durable and stable o The most widely used base today o Recommended for preservation purposes (Dalton, n.d.).
Emulsions Emulsion layers generally have one of two chemical compounds: silver halide crystals or diazonium salts (Dalton, n.d.).
From Now to the Apocalypse: Life expectancy Microfilm is a medium designed to record history and will outlive us all if given the proper handling and storage. Life expectancy does vary according to the composition of the microfilm’s base (Kodak, 2002).
POLYESTER BASE • • •
ACETATE BASE
500 year life expectancy (Kodak, 2002) Does not shrink or produce noxious gases Not as susceptible to environmental change
• • •
100 year life expectancy (Kodak, 2002) Base layer shrinks with deterioration and lets off a vinegar smell More susceptible to changes in environment
The White Glove Approach: Handling Microfilm Like any information source, microfilm is meant to be used; however, use leads to wear and breakdown. • • • •
Overexposure of light can fade images and breakdown film components. Dust can cause scratching. Oils from skin can leave smudges and breakdown film. Rapid changes in temperature can cause warping.
To minimize wear due to these factors, the following protocols are recommended: • •
• •
Microfilm should be handled with care using clean lint-free 100% cotton gloves. If gloves are not available, film should be touched only on the narrow edges or leaders the blank spaces at the beginning and end of the reel (Dalton, n.d.). The microfilm should never be left in viewing equipment. Microfilm should never be left loose on a work table and should always be placed back into protective packaging when it is no longer needed.
• • •
People using multiple films should take only one roll out of its box at a time to avoid unnecessary exposure. Microfilm readers should be cleaned regularly to avoid transferring dust or oils to the film (Dalton, n.d.). If storage areas are colder than those that house the microfilm reader, the film should be given time to warm up before being used on
the machine; this is referred to as a conditioning period (Dalton, n.d.). Of course, no system is perfect, and there is always room for error. In the event that microfilm does become soiled, it can be cleaned using a lintless pad moistened with film cleanser or a Particle Transfer Roller (Kodak, 2002). Film that begins breaking down may need to be reformatted. There should be regular surveys of the film to detect problems.
The DOs and DON’Ts of Storage
The most important storage considerations for microfilm are temperature, Relative Humidity (R/H), and pollution. If these levels are not properly set and monitored, microfilm can breakdown and be damaged. It is estimated that microfilm saves 95% of the space required for storing paper documents, but storage containers should also be carefully considered to ensure longevity. The chart below is a quick reference for proper storage of microfilm.
DOs
DON’Ts
Keep films in a cool place
Store in temperatures above 70 degrees F.
Keep R/H Below 50%
Allow temperature and R/H to Vary more than +/- 5%
Vacuum and dust regularly
Let dust accumulate
Avoid toxic fumes
Store near chemicals or HVAC exhaust
Keep reels in individual boxes constructed of lignin free, buffered or neutral paper
Store multiple types of films on the same reel, or even in the same cabinets
Store films in non-corroding cabinets (exclusive microfilm shelving is available)
Use wooden shelving (it may give off fumes)
Plastic storage should be constructed of “safe plastic” (polyester, polyethylene, and polypropylene)
Use PVC and Vinyl storage bins (these break down) (Dalton, n.d.)
A Shy Medium: Loan & Exhibition If we were to give microfilm a personality type, it would be an introvert. It likes to stay at home and does not want to be the center of attention. Like any introvert, microfilm does have to come out of its shell occasionally. With that in mind, here are a few brief considerations about loan and exhibition. LOAN In House
External
Microfilm is able to be accessed and viewed without much worry of theft. Viewers are not able to “rip pages” out of microfilm. Machines to view microfilm are not generally user friendly. Staff needs to be trained to use machines to assist users. Microfilm reading machines lack the features that many users are used to with digital media.
Lending microfilm outside its owning institution seems unnecessary, as either a print or digital copy of the desired section of film can be made and sent to a requester. If microfilm is lent it should be a “use copy” and not an archival master copy. For preservation microfilming it is suggested that there be one archived master copy, one duplicating copy, and multiple use copies (Dalton, n.d.).
EXHIBITION Microfilm is not a medium that should be used for exhibition because it requires equipment to read it. Furthermore, displaying a roll of microfilm would be detrimental because prolonged exposure to light can fade certain types of films – diazos particularly (Dalton, n.d.).
Half Way Between Paper and Digital: Reformatting & Treatment Microfilm can be reformatted in two ways. The images can be printed on paper: you might say that this is a return to its roots, as many microfilmed images we once paper product. The images can be scanned into digital files: you might term this updating to our current technology. On a spectrum of formats, microfilm sits squarely in the middle between paper and digital. Of course, microfilm can also be copied to the same format for multiple (or newer) copies of the same film. Retro to Paper Reformatting to paper often happens when a researcher prints off a copy of the information
though a printer hooked up to the microfilm reader. Mass reformatting to paper is unlikely. Microfilm is a more space efficient and longer lasting format. Forward to Digital Digital reformatting can make access easier, but there are factors to be considered before reformatting all of a microfilm collection to digital. •
Cost Efficiency: Digital storage cost money. An institution has to either pay a company for digital storage or have large servers of its own, which can be costly.
•
•
Access Speed: The larger the digital repository becomes the longer the load time becomes. It does not make sense to pay more and have slower response times to digitize low priority information already contained on microfilm (Ferrari, 2010). Scanning: Scanning can be inaccurate leading to the need for editing which can be time consuming and laborious.
•
Technology is improving and hopefully in the near future the process will be more accurate.
Same Format, New Copy Silver duplicating utilizing brown tone is recommended for microfilm that is deteriorating. Beyond creating a new duplicate, proper storage conditions with new storage boxes can help alleviate any problems with microfilm.
References Cady, S. A. (1990). The electronic revolution in libraries: Microfilm déjà vu? College & Research Libraries, 51(4), 374-386. Caudle, D., Schmitz, C., & Weisbrod, E. (2013). Microform—Not extinct yet: Results of a long-term microform use study in the digital age. Library Collections, Acquisitions, & Technical Services, 37(1/2), 2-12. Daavid, J. (2005a). Chronology of microfilm developments: 1800-1900. Retrieved from http://www.srlf.ucla.edu/ exhibit/html/section3_briefhist/Chronology.htm Daavid, J. (2005b). Microfilm – a brief history. Retrieved from http://www.srlf.ucla.edu/exhibit/html/section3_briefhist/ BriefHistory.htm Dalton, S. (n.d.). Reformatting: Microfilm and microfiche. Retrieved from http://www.nedcc.org/free-resources/ preservation-leaflets/6.-reformatting/6.1-microfilm-and-microfiche Ferrari, J. (2010, October 25). Why do we still need microfilm? [Web log post]. Retrieved from https://www.tsl.texas.gov/ slrm/blog/?p=1167 Fox, L., & Association of Research, L. (1996). Preservation microfilming: a guide for librarians and archivists 2nd ed;. United States of America: American Lib. Assn. Kodak. (2002). Storage and preservation of microfilm. Kodak Pamphlet D-31. Retrieved from http://www.epminc.com/ files/en_D-31.pdf
July 2014
Issue 1
This month learn all about MICROFILM!
IN THIS ISSUE A Brief History An Inside Look: Construction & Composition From Now to the Apocalypse: Life Expectancy The White Glove Approach: Handling Microfilm
The DOs and DON’Ts of Storage A Shy Medium: Loan & Exhibition Half Way Between Paper and Digital: Reformatting & Treatment
A Brief History Microfilm had its beginnings in the 19th century. In 1839, daguerreotype photography was introduced to the French Academy of Science, and in that same year Englishman John Benjamin Dancer coupled this photography process and a microscope to successfully invent microphotography (Cady, 1990; Daavid, 2005a). In 1859, Rene Dragon was granted the first patent for microphotography, and in 1891 Madsen received a
U.S. patent for a microfilm camera (Daavid, 2005a; Daavid 2005b).
As an evolution of microform, microfilm gained commercial success during the 1920s following the development of the Checkograph machine by a New York City banker. The machine made copies of bank records. Eastman Kodak bought the invention and began marketing it to a wider audience. The New York Times began utilizing microfilm in 1935 and Harvard University began
utilizing microfilm in 1938 for its Foreign Newspaper Project. Harvard’s use of microfilm set the standard for archival preservation in American libraries and archives. 1938 also saw the formation of the University Microfilms, Inc which filmed and distributed microfilm editions of academic publications. In 2001, UMI was absorbed by Proquest
Information and Learning Company. New technology, more information, and increased funds lead to the widespread use of microfilm in the 50s, 60s, and 70s. With the rises of digital technologies in the 1990s microfilm fell in use, and today there are some who believe microfilm has been replaced by digitization (Ferrari, 2010).
An Inside Look: Construction and Composition CONSTRUCTION
COMPOSITION
Microfilm is most commonly found on 16mm and 35mm film rolls. Film can vary in thickness depending on the components used in its various layers. Microfilm has six layers listed here from top to bottom:
The two main components of microfilm are:
• • • • • •
Overcoat – thin layer that protects emulsion layer; anti-scratch Emulsion layer – Composed of chemicals that create the images when processed (chemical composition varies with type of film) Substratum – thin layer that bonds emulsion to Base/Support Antihalation Undercoat – layer of light absorbing dye (becomes transparent in processing) Base or Support – a flexible plastic material (type of plastic varies) Backing – usually made of gelatin; prevents curl (Kodak, 2002)
• •
The type of plastic used for the base The chemicals used in the emulsion layer
Bases Throughout the history of microfilm, there have been many film bases. •
•
•
Cellulose Nitrate o Flammable o Releases hazardous gases as it breaks down o Stopped use in the 1950s because it was not considered safe. Cellulose Acetate o Touted as a safe film o Not flammable o Still subject to breakdown Polyester o Both durable and stable o The most widely used base today o Recommended for preservation purposes (Dalton, n.d.).
Emulsions Emulsion layers generally have one of two chemical compounds: silver halide crystals or diazonium salts (Dalton, n.d.).
From Now to the Apocalypse: Life expectancy Microfilm is a medium designed to record history and will outlive us all if given the proper handling and storage. Life expectancy does vary according to the composition of the microfilm’s base (Kodak, 2002).
POLYESTER BASE • • •
ACETATE BASE
500 year life expectancy (Kodak, 2002) Does not shrink or produce noxious gases Not as susceptible to environmental change
• • •
100 year life expectancy (Kodak, 2002) Base layer shrinks with deterioration and lets off a vinegar smell More susceptible to changes in environment
The White Glove Approach: Handling Microfilm Like any information source, microfilm is meant to be used; however, use leads to wear and breakdown. • • • •
Overexposure of light can fade images and breakdown film components. Dust can cause scratching. Oils from skin can leave smudges and breakdown film. Rapid changes in temperature can cause warping.
To minimize wear due to these factors, the following protocols are recommended: • •
• •
Microfilm should be handled with care using clean lint-free 100% cotton gloves. If gloves are not available, film should be touched only on the narrow edges or leaders the blank spaces at the beginning and end of the reel (Dalton, n.d.). The microfilm should never be left in viewing equipment. Microfilm should never be left loose on a work table and should always be placed back into protective packaging when it is no longer needed.
• • •
People using multiple films should take only one roll out of its box at a time to avoid unnecessary exposure. Microfilm readers should be cleaned regularly to avoid transferring dust or oils to the film (Dalton, n.d.). If storage areas are colder than those that house the microfilm reader, the film should be given time to warm up before being used on
the machine; this is referred to as a conditioning period (Dalton, n.d.). Of course, no system is perfect, and there is always room for error. In the event that microfilm does become soiled, it can be cleaned using a lintless pad moistened with film cleanser or a Particle Transfer Roller (Kodak, 2002). Film that begins breaking down may need to be reformatted. There should be regular surveys of the film to detect problems.
The DOs and DON’Ts of Storage
The most important storage considerations for microfilm are temperature, Relative Humidity (R/H), and pollution. If these levels are not properly set and monitored, microfilm can breakdown and be damaged. It is estimated that microfilm saves 95% of the space required for storing paper documents, but storage containers should also be carefully considered to ensure longevity. The chart below is a quick reference for proper storage of microfilm.
DOs
DON’Ts
Keep films in a cool place
Store in temperatures above 70 degrees F.
Keep R/H Below 50%
Allow temperature and R/H to Vary more than +/- 5%
Vacuum and dust regularly
Let dust accumulate
Avoid toxic fumes
Store near chemicals or HVAC exhaust
Keep reels in individual boxes constructed of lignin free, buffered or neutral paper
Store multiple types of films on the same reel, or even in the same cabinets
Store films in non-corroding cabinets (exclusive microfilm shelving is available)
Use wooden shelving (it may give off fumes)
Plastic storage should be constructed of “safe plastic” (polyester, polyethylene, and polypropylene)
Use PVC and Vinyl storage bins (these break down) (Dalton, n.d.)
A Shy Medium: Loan & Exhibition If we were to give microfilm a personality type, it would be an introvert. It likes to stay at home and does not want to be the center of attention. Like any introvert, microfilm does have to come out of its shell occasionally. With that in mind, here are a few brief considerations about loan and exhibition. LOAN In House
External
Microfilm is able to be accessed and viewed without much worry of theft. Viewers are not able to “rip pages” out of microfilm. Machines to view microfilm are not generally user friendly. Staff needs to be trained to use machines to assist users. Microfilm reading machines lack the features that many users are used to with digital media.
Lending microfilm outside its owning institution seems unnecessary, as either a print or digital copy of the desired section of film can be made and sent to a requester. If microfilm is lent it should be a “use copy” and not an archival master copy. For preservation microfilming it is suggested that there be one archived master copy, one duplicating copy, and multiple use copies (Dalton, n.d.).
EXHIBITION Microfilm is not a medium that should be used for exhibition because it requires equipment to read it. Furthermore, displaying a roll of microfilm would be detrimental because prolonged exposure to light can fade certain types of films – diazos particularly (Dalton, n.d.).
Half Way Between Paper and Digital: Reformatting & Treatment Microfilm can be reformatted in two ways. The images can be printed on paper: you might say that this is a return to its roots, as many microfilmed images we once paper product. The images can be scanned into digital files: you might term this updating to our current technology. On a spectrum of formats, microfilm sits squarely in the middle between paper and digital. Of course, microfilm can also be copied to the same format for multiple (or newer) copies of the same film. Retro to Paper Reformatting to paper often happens when a researcher prints off a copy of the information
though a printer hooked up to the microfilm reader. Mass reformatting to paper is unlikely. Microfilm is a more space efficient and longer lasting format. Forward to Digital Digital reformatting can make access easier, but there are factors to be considered before reformatting all of a microfilm collection to digital. •
Cost Efficiency: Digital storage cost money. An institution has to either pay a company for digital storage or have large servers of its own, which can be costly.
•
•
Access Speed: The larger the digital repository becomes the longer the load time becomes. It does not make sense to pay more and have slower response times to digitize low priority information already contained on microfilm (Ferrari, 2010). Scanning: Scanning can be inaccurate leading to the need for editing which can be time consuming and laborious.
•
Technology is improving and hopefully in the near future the process will be more accurate.
Same Format, New Copy Silver duplicating utilizing brown tone is recommended for microfilm that is deteriorating. Beyond creating a new duplicate, proper storage conditions with new storage boxes can help alleviate any problems with microfilm.
References Cady, S. A. (1990). The electronic revolution in libraries: Microfilm déjà vu? College & Research Libraries, 51(4), 374-386. Caudle, D., Schmitz, C., & Weisbrod, E. (2013). Microform—Not extinct yet: Results of a long-term microform use study in the digital age. Library Collections, Acquisitions, & Technical Services, 37(1/2), 2-12. Daavid, J. (2005a). Chronology of microfilm developments: 1800-1900. Retrieved from http://www.srlf.ucla.edu/ exhibit/html/section3_briefhist/Chronology.htm Daavid, J. (2005b). Microfilm – a brief history. Retrieved from http://www.srlf.ucla.edu/exhibit/html/section3_briefhist/ BriefHistory.htm Dalton, S. (n.d.). Reformatting: Microfilm and microfiche. Retrieved from http://www.nedcc.org/free-resources/ preservation-leaflets/6.-reformatting/6.1-microfilm-and-microfiche Ferrari, J. (2010, October 25). Why do we still need microfilm? [Web log post]. Retrieved from https://www.tsl.texas.gov/ slrm/blog/?p=1167 Fox, L., & Association of Research, L. (1996). Preservation microfilming: a guide for librarians and archivists 2nd ed;. United States of America: American Lib. Assn. Kodak. (2002). Storage and preservation of microfilm. Kodak Pamphlet D-31. Retrieved from http://www.epminc.com/ files/en_D-31.pdf
