Perspectiveson
Personal D igital Archiving
N ationa l D igita l I nfor m ation
I nfr a structur e a nd P r eservation P rogr a m
L ibr a ry of C ongr ess
2013

Contents
Introduction
Personal Digital Archiving Guidance
Four Easy Tips for Preserving Your Digital Photographs
6Mission Possible: An Easy Way to Add Descriptions to Digital
Photos8
Photo Sharing Sites as Digital Preservation Tools
12
Digital Preservation-Friendly File Formats for Scanned Images 14
Archiving Cell Phone Text Messages
16
What Image Resolution Should I Use?
18
Personal Archiving in the Cloud21
Family History and Digital Preservation
23
The Big Digital Sleep
26
When I Go Away: Getting Your Digital Affairs in Order
29

Personal Reflections on Personal Digital Archiving
Confessions of an Imperfect Personal Digital Archivist
One Family’s Personal Digital Archives Project
My Weekend Project
Personal Archiving – Year End Boot Camp
“It’s Dead, Jim”: Resurrecting an Obsolete FileThe Results of One Scholar’s Survey: What Are Your Plans forYour Personal Digital Archives?
Have Obsolete Digital Media, Will Travel
Forestalling Personal Digital Doom
Remember When We had Photographs?
When Data Loss is Personal

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39
42
46
49
51
53
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Personal Digital Archiving Outreach
Hey Libraries and Archives: Personal Digital Archiving Kit Now
Available58
Pass it On: Library of Congress Events for Preservation Week 2012
59
Librarians Helping Their Communities with Personal Digital Archiving61
Preserving Your Personal Digital Photographs: Library of Congress
Presents Online Session
64
ALCTS, PLA and Library of Congress Collaborate on Personal
Digital Archiving Campaign65
We Talked and Talked About Personal Digital Archiving
67

Save Our African American Treasures: Houston and Dallas
68
Personal Digital Archiving: An Interview with Jordan Fields of the
Kansas City Public Library
71
What Do Teenagers Know About Digital Preservation? Actually,
More Than You Think…
73
From Chaos to Order: Diverse Communities Interested in Personal
Digital Archiving Resources
75
The Challenge of Teaching Personal Archiving76

About the Authors

Perspectives on Personal Digital Archiving

Introduction
Imagine someone 50 years from now who wishes to study our life in theearly twenty-first century. Getting any kind of reasonable understanding will
require using born-digital sources: websites, email, digital photographs and ahost of other material that exist only in electronic form.
This means we have to preserve lots of digital information for a longtime. Doing this work is, however, fundamentally different that preserving
books, papers and other traditional forms of information. Digital content
can be hard to capture, difficult to organize and use and prone to going
obsolete due to changing technology.
The Library of Congress is attending to its digital holdings to ensurethat they remain available over time. This is a critical responsibility for acollecting organization, and requires a good deal of careful planning andattention. Acting now, and continuing to act tomorrow, is essential if digitalmaterials are to carry memories into the future.
The same is true for individuals and families who want to pass ontheir personal digital memories. One of the still unfolding impactsof the computer age is that everyone now must be their own digitalarchivist. Without some focused attention, any personal collection is at highrisk of loss – and quick loss at that.
Through its national digital preservation program, the Library of Congressaims to build awareness of the personal digital archiving challenge. We firstoffered tips on managing personal digital materials on our website, digitalpreservation.gov, in 2007. At the time, there was little guidance available
on the subject, and we wanted to help people with some basic advice.
This advice has evolved over the years and we now have a broad range of
information available. Our approach has always been to provide what we
think of as high-level, basic guidance that gives the non-specialist some ideas
for getting started. We find that most people have practically no experience
with or understanding of practices to manage digital content. Their biggest
need is for an accessible introduction and some simple first steps. Our majortask , then, is broad public engagement. We aim to reach people directly, andalso work to help other cultural heritage organizations build their own public
outreach programs.
Our digital preservation blog, The Signal, is a major outlet for addressing
personal digital archiving. Over the last two years, the blog has featured
three categories of stories on the topic:—3—

Perspectives on Personal Digital Archiving•••

Discussions about applying the guidance listed in the
Preserving Your Digital Memories section of our website.
Narratives about real-world encounters with personal digitalpreservation issues.
Descriptions of the outreach we have undertaken to connect
with institutions and individuals to promote personal digitalarchiving.

We have gathered the most useful posts in each of these categories into thiselectronic publication. Perspectives on Personal Digital Archiving is intended
as resource for individuals – and the institutions that serve them – to meeta critical challenge. Our aim is for it to be a primer for the digital archive
novice, as well as a refresher for those with more experience.
Each entry has a link in the title back to the original post on our blog. The
original posts include pictures and graphics. We have made some minor
edits here in cases where the original language referred to illustrations or wasotherwise more suited to interactive content.
We believe this compilation is best used in tandem with our other digitalpreservation resources. These include our website and our blog, as wellas our Twitter account, @ndiipp, and our Facebook page. We also havea diverse assortment of videos available through YouTube. Our monthly
Library of Congress Digital Preservation Newsletter is available by free email
subscription.
All these sources offer a regular stream of current details with a bearing on
personal digital archiving. We also aim to engage with people through all
our communication channels. A key measure of how well we are doing istied to the comments and other responses we get from our readers. We are
eager to know what you think and to hear your ideas for how we can dobetter.
This resource is possible because of the fine team at the Library of Congress
and wonderful guest bloggers from other places. For details on all, please
see the About the Authors section. Special thanks to Tess Webre for her
invaluable help as a compiler and formatter.
Bill LeFurgy, March 2013—4—

Perspectives on Personal Digital Archiving

Personal Digital Archiving Guidance—5—Perspectives on Personal Digital Archiving

Four Easy Tips for Preserving Your Digital Photographs
Butch Lazorchak

Like many of you, I’ve got hundreds (thousands?) of photos. One of myfavorites is of me doing an improvised kung-fu move – not the most flattering
photo in my collection, but it was taken by a good friend back when I was
still a crazy grad student and I crack up every time I see it.
Of course, the photo is only in digital form, which means it’s got a“preservation” problem.
Digital preservation is the set of management processes that ensure thelong-term accessibility of digital information. At NDIIPP we deal withthese issues on a grand scale, working to ensure the nation’s valuable digital
cultural heritage survives for the long-term benefit of all.
But the valuable cultural heritage material we’re interested in often starts off
as a lone artifact in someone’s personal collection.
That’s why we’ve been offering guidance on how you can preserve your own
personal digital information. Not to say that there’s any long-term national
interest in my photo, but you never know. In any event, it’s valuable to me
and that’s enough for now.
We’ve come up with four simple steps to start you on the digital preservation
path: Identify, Decide, Organize and Make Copies (I.D.O.M. anybody?).
Identify means to take an inventory of where you have pictures. Are
they still on your camera? On your computer? Stored on a photo-sharing
website? Identifying where your photos are located is the first step to gettinga handle on preserving them.
Next, decide which photos are the most important. Digital photography
makes it easier than ever to keep every picture you take, but that’s notalways a good thing, especially if you’ve got similar pictures with only slightvariations.
A smaller collection of really essential photographs is easier to maintain thana sprawling mish-mash of everything, so don’t be afraid to decide to toss someaway if they aren’t important (a process known in the cultural heritage world
as deaccessioning). If you do get rid of copies, make sure you keep the one
with the highest resolution.
My photo is the only one I have from that time and place, so it’s about asessential as you can get. Luckily for me, the copy I have is at 300ppi (pixels
per inch), which is a decent resolution for my purposes, including printing at
its current size.
Next, organize the photos that you’ve selected. This is the mosttime-consuming part of the job (depending on how many photos you’ve got)—6—Perspectives on Personal Digital Archiving

but will be well worth the effort for accessing the pictures in the future.
Give each photo a descriptive file name. My photo has the relatively
nonsensical name “butch_dogg.jpg,” but I know exactly which picture it iswhen I scan through my directories.
You should also tag your photos with descriptive information to remind youof the “who, what and where” in the photo. There are a number of photo
editing tools that can help you add tags to your photos. Additionally, mostcameras add valuable information to your pictures automatically in the formof Exchangeable Image File Format (EXIF) data.
The EXIF data tells me the exact date my photo was taken, something I
wouldn’t know otherwise.
Next, create a directory structure for your picture storage environment. You
can organize your photos by year, location, person, or any other structure thatmakes sense to you.
My structure is a bit random. But that’s okay – I can work on this later!
Write a brief description of your directory structure and the photos in it andstore it with the pictures.
Finally, make copies of your pictures and store them in different
places. During the “identify” process you probably found pictures stored
in a bunch of different places. This is good! That is, as long as you’ve got asystem for keeping track of them.
How many copies? Well, more is certainly better, but the main things you
want to do are make multiple copies; store them on different kinds of storage
media (CDs, DVDs, USB flash drives, external hard drives or online storage);and store them as geographically dispersed from each other as possible.
I have a copy of my photo on my current laptop (having outlived four
previous computers) and on online storage that I’ve maintained for more thanseven years. Still, I could probably use another back-up just to be safe.
You should check your photos and storage media at least yearly to make surethat you can still get at them and to mitigate against hardware or software
obsolescence.
I.D.O.M. – the easy way to save your stuff!

—7—Perspectives on Personal Digital Archiving

Mission Possible: An Easy Way to Add Descriptions to
Digital Photos
Mike Ashenfelder“I just want to use it; I don’t want to know how it works.” – Unknown
My Signal colleagues and I give out digital-preservation advice based on our
research, our experiences and our understanding of best practices. We also
pay attention to questions from the general public, with whom we interact
at events such as the National Book Festival, Personal Archiving Day at the
Library of Congress and the Smithsonian’s Saving Our African American
Treasures. By far, most of the questions we get asked are about digital photos
and we expertly answer almost every question.
Almost.
Our main concern is for everyone to back up and care for their digital
photos. But we’re also eager to explain the innards of digital photos. We talkabout file formats and the effects of compression. We explain photo metadataand show EXIF examples. We’ve made an informational video about photo
metadata, written about our NDIIPP project with the Stock Artists Alliance,
and, as part of that project, interviewed photo metadata evangelist David
Riecks.
Aside from encouraging people to back up their digital photos, we also push
for them to add descriptions. That part is tricky.
We make the analogy that adding a description to a digital photo is likewriting on the back of a paper photo. Honestly, writing on the back of apaper photo is a breeze by comparison. There is a simple question people ask
us to which we don’t have a simple answer: “How?” Because it’s not easy. In
fact, it’s much more difficult than it should be.
Photography professionals routinely use photo-editing software to add photo
metadata to their digital photos for copyright and business reasons. To them,
the process is simple, mainly because they’ve mastered it. As the saying goes,“The obvious is already known.” However, the process is challenging for a
newcomer.
The steps are usually a variation on: starting the software, opening the photo,
selecting the menu options File > Get Info and typing text into fields. To
complicate matters though, the field names and terminology are maddeningly
similar and possibly different from program to program. Is “caption” thesame as “description”? Which fields should I use? Which fields equate towriting on the back of a paper photo? To further complicate the process,depending on the software, a description added to a photo might not actually
get embedded into the photo file; it might be visible only with the software
you used to embed the description. Our goal is to embed the description—8—Perspectives on Personal Digital Archiving

so that it always remains stored in the photo file, no matter where the photo
goes or what you view the photo on or with.
The larger problem is not so much with the photo-editing software. The
problem is requiring people to use photo-editing software at all to add
descriptions.
Given the choice, most of us would not bother. Or we would put that choreat the end of our long list of chores. Library staff found from interactions
with the public that it’s common for people to leave their photos on
their smart phones or on SD cards, so requiring people to struggle withphoto-editing software in order to add descriptions is not realistic.
The encouraging news is that it shouldn’t take much technologically tosimplify the process, to maybe have a button on the camera that says, “Add
Description.” Or a smart-phone app that has the same function. Click abutton, display a Description field for the photo, type in text and you’re done.
David Riecks said that the idea is not new. “I raised this same argument
at the first International Photo Metadata Conference in 2007,” said
Riecks. Nothing came of it though, even though there were a group ofengineers from major camera manufacturers in attendance. Riecks said
that, still, it is up to the manufacturers to add this feature and make itinteroperable with the current metadata schemas.
And if you send a digital photo to me into which you’ve added a description,
I should be able to see that description as easily as I can see the title of a songplaying on my smart phone. It’s just text embedded into a file.
Duraspace’s Michelle Kimpton made a somewhat-related point about how
consumers will accept a new technology – in this case cloud storage –when technologists make it easy to use. She said, “These (cloud storage)
technologies will become simple to use. And…when people see the value ofcloud technology and that it’s drop-dead easy, then it will take off.”
The same could be said for an “Add Description” feature. People might bemore inclined to add descriptions if it just takes the push of a button and a
moment of typing. Of course, not everyone will add descriptions, just as noteveryone writes descriptions on paper photos. But it’s nice to have the option.
The idea of enabling camera users to add descriptions via the camera is
not new. Almost 100 years ago, a major camera manufacturer included
an autographic feature on special cameras, enabling users to write captions
on film. For whatever reason, that feature never became popular. Maybebecause it was easier to write on the paper photo. But at least the company
did develop the feature in response to a need.
Riecks points out that manufacturers react to what people voice and what
the market expects, and manufacturers seek out suggestions for future
improvements. He encourages people to consider contacting their camera’s
manufacturer and simply asking for the feature. He has that contact—9—Perspectives on Personal Digital Archiving

information, and more, listed on the photometadata.org blog.
At the Library of Congress, we encourage people to add descriptions tophoto files as a good archival practice and we hope that camera manufactures
will implement this feature soon so that all photo takers can easily add
descriptions to their photos. As consumers and institutions accumulate
photos and pass them along to others, those who receive the photos willappreciate the embedded information.
Modern digital cameras are amazing and getting better all the time.
Asking people to add descriptions to their digital photos is like asking themto write descriptions on back of their paper photos. Doing so (writingon paper photos) is a good practice but most people don’t do it, including
me. It’s time consuming, you have to wait for the ink to dry until you
can stack the photos and so on. But someday these descriptions may help
jog your memory or help other viewers understand the content of thephotos. (“Oh, that’s grandma when she was a teenager.”) Similarly, adding
descriptions to digital photos – photo metadata – is a good practice but it isalso a chore.
Mike Wash, the CIO of NARA, was an Kodak engineer for about 30
years. While at Kodak, Wash was responsible for many of the automateddevelopments that we take granted on cameras today, like autofocus,
automatic light adjustment and technical metadata recording (such as thedate and time the photo was taken and the light and shutter-speed settings).
I asked him if it was possible to have a feature on a digital camera that would
enable users to easily add metadata. Wash said, “I think that nearly everyone
would agree that some sort of data associated with an image is valuable. But
the hardest part is going to be dealing with the variable nature of what typeof information you would use. Creating an “all things to all people” type of
one-touch metadata entry is going to be pretty hard.”
Wash added, though, that “documenting information about the photo” is
one of the features his team of engineers at Kodak had on their list of unmet
consumer needs. However, people will not want to allocate any time to thetask of adding metadata; for example, typing a description into a camera or asmart phone would be awkward, time consuming and unappealing. “It has
to be automatic,” Wash said. “Beyond easy.”
The idea that makes the most “beyond easy” sense is also a bit daring:voice-to-text software. With the photo displayed on your camera, you click
a button or open an app, speak a few words about the photo into the device
and the text of your words gets embedded into the photo file. Both Mike
Wash and David Riecks support the idea.
Wash said, “Voice technology has improved a lot over the past few
years. And that would easily translate into a low-cost feature.” Wash stressedthat the cost threshold is crucial to public acceptance. He mentioned afeature of the Kodak Advantix system that didn’t get developed because the— 10 —

Perspectives on Personal Digital Archiving

budget to put it into a camera, at .25¢, was too much. Wash said, “You’reaiming for tenths of pennies here and there because all of that equates intoless margin or too high a price to dissuade a consumer from buying yourproduct.”
So we have the technological capability to add a voice-to-text photo metadata
function to digital cameras, and we have a need to embed descriptions toour digital photos, but – for practical and economic reasons – it must be
cost effective for manufactures to develop it. It is likely that once consumers
know that it is possible and easy to do, and they see the value of added
descriptions in helping organize and find their photos, the market will favor
the camera manufacturers who make that feature available. In a short time it
could become a standard feature.
One more word about Mike Wash’s support of adding descriptive
information to photos. It’s not just an interesting “cocktail conversation”
idea for him. He actually has two vintage 100-year-old Autographic
cameras. One sits on his desk. Kodak built the Autographic to enable users
to write descriptions onto photographic film. After you take a picture (using
special Autographic film) you open a little door in the camera back and you
can write a note that would come out between frames. Wash said, “You justhold the camera with the little window up to a bright light for five or ten
seconds and close the door. And it actually exposes your metadata onto thefilm between the negatives. It’s pretty cool.”
Note: The original blog post featured a visual experiment involving the locationof a description for a digital photograph. You are invited to do the experiment
yourself by clicking on the title above, which takes you to the blog post.

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Photo Sharing Sites as Digital Preservation Tools
Barry Wheeler

The numbers are staggering – an estimated 2.5 billion people in the world
have digital cameras! They take perhaps 3.75 billion pictures each year. We
love to share those pictures – hundreds of millions of pictures are uploaded tophoto sharing sites each day! In addition to sharing, many people may wish
to preserve their photographs for commercial, artistic, future family uses. We
know that we should keep multiple copies of any photographs we wish topreserve, including at least one copy in an offsite location. So the question
naturally arises – if we have uploaded those pictures can they be consideredpart of our digital preservation strategy?
We can’t recommend specific commercial products here, but in general, usinga photo sharing site as a preservation copy repository has a lot of pluses. We
may be selective uploading only our favorite images, and we may crop andprocess those images as we please. Online sites frequently have a variety
of tools to name, describe and tag each picture. Previous chapters and the
Library’s Personal Archiving page provide much advice that seems perfect for
uploading images to a well-documented site. But, at least 3 major “ifs” arehurdles that must be overcome first. The following are some key issues toconsider before choosing an online photo sharing site:
Is the online business stable, with a viable financial future?
This is a judgment call. No one can predict the future of an internet
site. But at least two online photo sharing sites have gone out of business anda third changed its business model. In these three cases, many photographers
lost all access to their images. They had from one to 14 days to retrieve theirimages – such brief periods that many photographers were unaware of the
problem before the site was gone. The photographers then have no recourse;
all online sites appear to include a Disclaimer of Warranty in their terms andconditions text. These companies then bear no responsibility for lost images
and data if they go out of business or if their storage infrastructure fails. The
photographer bears all risks!
Does the online site retain (and back up) the photographer’s images for a very
long time period?
In some cases, the user may be unaware that during the ingest
process, the online site downsizes the images and strips all embedded
metadata. The site may then discard the original images, whichsaves storage space and speeds online presentation. But the images
the owner and site users view and download may be of significantly
lower quality than the images originally uploaded. Even if theoriginal image is saved, there are numerous additional problems with— 12 —

Perspectives on Personal Digital Archiving

retention. What is the retention policy if the online site decides auser has violated the site terms and conditions? If another user lodges
a complaint? If a user site becomes inactive and isn’t accessed for aperiod of time? If any site fees are not paid in a timely fashion?
Can designated people retrieve the photographs – with identifying captions,tags and descriptions – easily?
A subsequent chapter will describe how users should save and passon usernames and passwords to sites so designated individuals may
retrieve images at a later date. But most site applications only support
one-at-a-time image retrieval. “Harvesting” all or a significant portionof a site may be difficult or impossible. Often there are third-party
applications that may be used to harvest a site – if the site terms andconditions allow this. But what does the application retrieve? Will
it include the captions and tags? Will it be easy to use? Will the
download application be available and functional in the future?
If a site passes the business risks hurdle, we might find answers to theretention and risk hurdles by studying the online site terms and conditions,the site help files and perhaps searching user group threads. We may need toexperiment by uploading, describing and retrieving some sample images. We
may want to obtain a harvest application for testing – and note the timerequired to retrieve an image set. Downloading a particularly large image set
from cloud storage can take weeks! Much research is needed to determine if
a site might fit a user’s preservation requirements.

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Perspectives on Personal Digital Archiving

Digital Preservation-Friendly File Formats for Scanned
ImagesBill LeFurgy

From a preservation standpoint, some digital file formats are better thanothers. The basic issue is how readable a format remains over the course oftime and successive waves of technological change. The ideal format will
convey its content accurately regardless of advances in hardware, software andother aspects of information technology.
Over the last several years, the Library has developed a web resource to help
guide preservation-optimal choices in selecting file formats. Sustainability of
Digital Formats Planning for the Library of Congress Collections outlines anumber of sustainability factors that have a bearing on how effective formats
are expected to be with regard to long-term preservation.
The factors are listed below, in brief.
•
•
•
•
•

•
•

Disclosure - Degree to which complete specifications and tools
for validating technical integrity exist and are accessible tothose creating and sustaining digital content.
Adoption - Extent of acceptance by the primary creators, disseminators or users of information resources.
Transparency - Openness to direct analysis with basic andnon-propriety tools.
Self-documentation–Inclusion of metadata needed to renderthe data as usable information or understand its context.
External dependencies - Degree to which a particular format
depends on particular hardware, operating system, or software
for rendering or use and the predicted complexity of dealing
with those dependencies in future technical environments.
Impact of patents–Extent that licenses may inhibit the abilityof archival institutions to sustain content.
Technical protection mechanisms - Embedded capabilities torestrict use in order to protect the intellectual property.

Application of these factors to current format choices has led to identificationof different flavors of TIFF and JPEG 2000 as preferred choices for scanned
digital images. Also in the mix is PDF/A-1, PDF for Long-term Preservation.
The Library is also working with the Federal Agencies Digitization
Guidelines Initiative to define common guidelines, methods and practices todigitize historical content in a sustainable manner. The Federal Agencies Still
Image Digitization Working Group, a subsection of the larger initiative, isconcentrating its efforts on image content such as books, manuscripts, maps
— 14 —

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and photographic prints and negatives.

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Perspectives on Personal Digital Archiving

Archiving Cell Phone Text Messages
Mike Ashenfelder

As choppy and terse as cell-phone texting is, it is still correspondence. Since
we value and save other text correspondence – such as letters and email – itseems natural that we might want to save text messages too. The problem isthat saving text messages off a cell phone is not quite easy or convenient.
Cell – or mobile – phones could be loosely divided into two types: “basic”
and “smart.” Both types store text, contacts and other information either on adrive or a detachable SIM card. If you want to save text/SMS messages, youhave to transfer them off the phone and onto whatever storage medium you
put your personal digital stuff.
Saving text messages is more difficult for basic phones. You have to open
the phone, remove its SIM card and display the card’s contents through a
SIM card reader. A reader is an inexpensive device into which you pop the
SIM card, plug the reader into the USB port on your computer, display the
SIM card contents and copy the text messages over. The “Text” – or TXT –format of the text messages is one of the least complex of all the computer fileformats, so you can display the contents of a text message file with a basic text
editor. You can even display it through a browser; text files get along wellwith several different programs.
Smart phones give you more control over text messages. You can eithertransfer the files over a cell-phone cable into a computer or transfer the files
wirelessly via Bluetooth. You can find special software to access, view andmanipulate the files. I have a nice $1.99 app for my smart phone that displays
the text messages from my phone and gives me the option to save them all off
the phone as a single file (with a choice from a few different formats) on mycomputer.
The app displays the contents of the SMS file organized into four categories:
ADDRESS, the screen name of the person with whom I am exchanging
texts; DIR, the direction the text in the conversation is going, whether it iscoming in to me or going out to the ADDRESS; DATE, the date and time
the text was sent; and TEXT, the body of the text itself.
Some cell phone text message software will enable you to recover texts
you thought were deleted from your cell phone. This is possible because
when you delete a text message, the text message doesn’t actually geterased. Though the phone tells you that the text is deleted, in reality thephone keeps the text for a while in a ghost-like state and makes the space thatthe text inhabits vacant and available to new text.
If new text comes along and it needs the space that your so-called “deleted”
text inhabits, the new text will overwrite the old text (which is still squattingin the “available” space). If new text comes along and finds a space to park— 16 —

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and doesn’t need the “deleted” message’s available space, the deleted message
will continue to exist, out of sight, until something eventually comes along,overwrites the deleted text and takes over its space.
Which means that some deleted text may still be recoverable. There isa big market for text recovery and text recovery software, especially forsnooping. That is why, if you search online for cell phone text message
recovery software, you will see many listings for commercial data-recovery
products whose target audience is law enforcement, security, private
investigation and other legal work.
If you are considering approaching your cell phone service provider to request
a copy of your cell phone messages, expect to encounter legal obstacles; yourprovider will not just turn over your text message files to you, no matter how
much ID you provide. There are strict laws governing access to your phone
files, including the 2006 Consumer Telephone Records Protection Act, andthe laws vary in complexity and severity from state to state. You can ask yourlocal law enforcement agency for advice but ultimately you will probably needa court order to get the files.
It’s better, going forward, to plan for archiving your text messages. If you
want to preserve them, get in the habit of not deleting your text messages
from your phone, especially if a particular conversation is precious to you andback them up frequently.
It would be ideal if, every time I connect my cell phone to the computer torecharge it, software checks my cell phone for text messages that are newsince I last plugged in, then automatically transfers the new files to mycomputer and archives them. Even better, it would be nice if the software
simultaneously uploaded a copy to a cloud backup service. But until
affordable, easy-to-use autosave software comes along, save your texts every
time you recharge your phone.
Smart phone users, look into the appropriate text-message-saving apps orsoftware for your phone. Those of you that have simple phones, look into
SIM card readers but be sure before you make a purchase that this method
works for your particular phone. You might want to ask for a demonstrationin the electronics store, using the SIM card from your phone.
As a temporary solution, you can always email text messages to yourself
and save them, one by one, on your computer. That method can quickly
get tedious though. Ideally, technology should take care of text-message
archiving in the background without bothering you to perform petty tasks.

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What Image Resolution Should I Use?
Barry Wheeler

What is resolution?
What resolution should I look for when I buy a scanner?
What resolution should I use when using my scanner?
These are questions we hear frequently when speaking to people about
their digital conversion projects. Unfortunately, the questions are hard toanswer. The material can get very technical and can be difficult to apply. So
I’ll try to answer the first question now and the second two questions in a bit.
Here’s a sample scenario: You’re in the store looking at a scanner and thebox contains perhaps the cheapest legal sized desktop scanner available. In
big print the manufacturer claims, “2400 x 4800 dpi”. So, you have a very
inexpensive scanner with very high resolution. This is just what everyone
wants. But is this the only consideration?
Remember this – resolution is important but it is only one measure of scanner
quality. Other measures are also as important but won’t be discussed in thisseries of posts. For example, two other important characteristics are: therange and accuracy of different colors the scanner can capture and the abilityof the scanner to capture details in shadows and highlights.
If color accuracy and fine image detail are important, you have to consider
much more than simple resolution.
Now, to begin to answer the first question – what is resolution? Let’s take alook at how a scanner works. A hidden stepper motor and gear train pull thelight and sensor assembly along a geared track. As it moves, a light shines
into the light guide and is focused up toward the page. The motor moves theassembly along in very small steps – the manufacturer specifies a rate of up to4800 steps for each inch the capture line is pulled across the document.
The stepper motor and gears are shown along with a portion of thelight guide. The light guide is an optical plastic rod that spans the page
width. The LED lights shine into the guide from one end; the baffles andmirrors guide the light onto the page and back onto the sensor.
The sensor is a row of 2400 light-sensitive diodes per inch. Each time themotor moves the scanning head a single step, the light along a row is bounced
off the page and onto this line of tiny light-capturing elements.
Now we can understand the manufacturer’s claimed resolution. Since witheach step, the reflection is measured along the row, the manufacturer claims amaximum resolution of 4800 rows per inch. Since there are 2400 sensors perinch in the row and each sensor measures the reflected light at one dot on thepage, the manufacturer claims a maximum resolution of 2400 dots per inch
— 18 —

Perspectives on Personal Digital Archivingin each row. Thus, the manufacturer claims a maximum resolution of 4800
dots per inch x 2400 dots per inch.
But the International Standards Organization (ISO) does not accept thisclaim.
With each step, each of the diodes attempts to measure the reflected light at
one point. Technically, each diode measures a sample of the reflected light ateach point. So, the ISO claims a maximum sampling rate of 4800 dots perinch x 2400 dots per inch.
Does this make a difference? Aren’t the terms “resolution” and “samplingrate” just different words for the same thing?
No. These words make a huge difference – believe the numbers and you may
be very disappointed.
Manufacturers claim “resolution” is based on the number of steps per inch asmall motor moves the scanner assembly (the rows) and the number of tiny
sensors per inch the manufacturer puts on the assembly (the columns). But
the International Standards Organization does not consider this the scanner’s
resolution. The ISO defines the steps and sensors as the “sampling” rate
because the sensors can only attempt to measure (sample) the brightness ateach point. The ISO defines “resolution” as the actual result on the screen,
not the number of sensors and steps that attempt to read each point.
We can think of the primary difference between measuring each point andactually resolving each point as “efficiency.” Some of these differences comeabout because the light may scatter and miss the sensor, the motor step may
not be sufficiently precise, or the collected value may be inaccurate. Inside
every scanner or camera, between the sensor and the screen is a small,
highly specialized computer called a digital signal processor. This
processor must work very hard to link a dot on the page to a dot on thescreen. Unfortunately, sometimes a manufacturer attempts to compensate
for scanner inefficiencies by over-processing the image data, introducing new
problems.
The Library follows the ISO standards and scans a “target.” Then computer
software applies sophisticated ISO specified formulas to measure theactual resolution. Targets and technology are necessary in a production
environment, but you can do the same using your own images and your own
software – your brain – to evaluate the resolution of an image. The targets
used by the Library include figures to visually evaluate a scan. I’ve enlarged
the central region of our target in the images that follow. By showing you
how we examine this region, I hope to help you learn how to evaluate theresolution of your own scans.
Any numbers are only approximate but the analysis will show you if theresolution is sufficient for your own needs. By experimenting with thescanner software controls – and carefully examining the results – a much
improved scan was produced.
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Perspectives on Personal Digital Archiving

Now we can answer the question, “What resolution should I use?”
Assuming you will look at, or print, the image at the same size as the original(enlargements and film scanning will require another blog post), begin witha scan resolution of 300 dpi or 400 dpi. Choose a document to scan withsome areas of fine lines and detail. Examples might be eyelashes, eyebrows,
hair, small tree branches, perhaps detail in clothes, or many small windows ina building. Examine the resulting scan carefully. Look for clean solid lines,
distortion, poor contrast between lines, false color, edge and halo artifacts
around text. Then change the resolution, or the contrast, or the “sharpening”– change any one control and run another scan. Repeat several times. With
practice, pick the scan you find best.
That’s it!

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Perspectives on Personal Digital Archiving

Personal Archiving in the Cloud
Mike Ashenfelder

Over the past few years I have been organizing my family’s digital videos
and digitizing our old videocassettes. All along I have tried to follow thepersonal digital archiving advice that my colleagues and I publish aboutorganizing and backing up your personal collections. Now that I havecollected, organized and stored our videos on hard drives, I have a newchallenge: backing the files up.
So far I have filled three 1 TB drives with all of our documents, photos,
music and video files and I am working on a fourth drive, which meansthat I should buy four more 1 TB drives to back up the four I alreadyhave. Currently, the price of a 1 TB drive averages around $100, though theprice will head lower..
Despite the reasonable price, and that it will be easy to backup our content
onto four new drives, we still have to decide if the purchase of new drives
fits into our budget. New hard drives are a lower priority for us than a lot ofother things we budget for. So with each passing month our much-needed
backup drives slip further down our list of priorities and our risk of losing ourdigital stuff slowly increases. I know we should upgrade and replace all of ourdrives in about five years or so; the clock is ticking as our current drives whir
toward obsolescence.
Online backup storage is an attractive option, especially since a) data should
be backed up in different geographic locations anyway and b) with online
backup I don’t have to worry about periodic hardware upgrades. So I havebeen shopping for an online service.
Newcomers to online (cloud) backup have a lot to learn and many conditions
to consider. What about the initial transfer when I upload all of our files
to the cloud? Depending on web traffic, the speed of our network and thereliability and bandwidth of our cable provider and other factors, it mighttake a long time to upload my 3 or 4 TB of files to the cloud. Days, in fact.
What if the connection gets dropped during the file upload? Do I have tostart over again? Are there limits to my file sizes? An hour of home video, asingle uncompressed file, can be about 12 GB. Some services limit the size ofthe files they will accept to less than half of that. Does that mean I have tosplit all my video files in half?
Does the cloud service have tools available for upload and backup
maintenance? Can the tools or services be configured for periodic automatedbackup? Can I access my cloud-stored stuff from any Internet connection,
anywhere?
Costs and pricing plans vary. Some services charge per volume of data. For— 21 —

Perspectives on Personal Digital Archiving

example, one service charges $25 a month for 250 GB of storage or $100
per TB per month…almost $400 per month for me to host my 3+ TB (andgrowing) of digital content. Other services have flat – and much, much lower– rates with no data-size limitations. That seems to be a more reasonableapproach.
It takes a lot of research and feature comparison to find a reasonably priced
online service to fit your needs. It might also take some trial and error, so it
is important not to get locked into a long-term plan before you are certainthat you are satisfied with the service. Some services allow you to pay
month-to-month and some require yearly subscriptions.
The two essential elements you should research before you decide on an
online backup service are 1) cost and 2) ease of use. Consumer cloud storageis still in its infancy and business models are still being invented, so take yourtime and make an informed decision before you open your wallet or start
uploading your precious stuff. Ask your friends, relatives, neighbors andco-workers about their experiences and recommendations.
The saying “Don’t put all your eggs in one basket” applies to personalarchiving and not storing your digital collection in only one place. No digital
storage medium is 100 percent guaranteed. Cloud storage is only one ofseveral possible options. Storage diversity is important and I still eventuallyneed to replace my four 1 TB drives. For now, cloud storage as a backup
gives me a little more security.

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Perspectives on Personal Digital Archiving

Family History and Digital Preservation
Mike Ashenfelder

The popularity of genealogy websites and TV shows is rapidly growing,
mainly because the Internet has made it so convenient to access family
history information. Almost everything can be done through the computer
now. Before the digital age, genealogical research was not only laborious
and time consuming, it also resulted in boxes of documents: photos, charts,
letters, copies of records and more. Online genealogy has replaced all that
paper with digital files. But the trade-off for the ease of finding and gathering
the stuff is the challenge of preserving it.
The current spike in genealogical activity is significant. David Rencher, chief
genealogical officer of the Church of Jesus Christ of the Latter-day Saints,
acknowledged the increase but said that the appeal of family history researchitself is not new. Rencher said, “Genealogy represents the interconnectivity ofhuman relationships. It also helps us understand the heritage we came fromand that many of our ancestors went through similar trials and tribulations
that we go through. It can add an element of meaning to our lives.”
Brian Lambkin, founding director of the Centre for Migration Studies at
the Ulster-American Folk Park in Northern Ireland, interprets part of themodern genealogy phenomenon – from his professional standpoint – as acontinuation of the Irish Diaspora. Lambkin, co-author of Migration in
Irish History 1607-2007, said that emigration is part of a larger, ongoingfamily story. “There are branches of families that have become separated,” hesaid. “But now the people doing the family history are making connections,coming back to Ireland and knocking on doors, saying, ‘I’m possibly related
to you. Do you mind if I come in and have a cup of tea?’ Relationships arebeing re-established.”
And “relationships” is the key word in digital genealogy because relational
databases are its engines.
Databases are programmed to find and display relations within amass of data, which in digital genealogy, of course, means familial
relations. Increasingly, census and registry information is loaded into
databases and made available online where users can search birth and deathrecords, marriage records, social security information and more in seconds,
and follow branching information related to their initial search. Often they
can download a genealogy database file – which may contain accumulated
research that someone else has done – and add that information to their own
personal database.
Any story about genealogy has to include the LDS Church. They have beengathering genealogical information since 1894, microfilming internationalfamily history records since 1938 and digitizing the microfilmed records— 23 —

Perspectives on Personal Digital Archiving

since 1999. They estimate they have records for over 5 billion people, a lot of
which is available online from their familysearch.org site.
In 1984, the LDS church developed the GEDCom (pronounced “jed-com”)
specification as a means of exchanging genealogical data. Though different
genealogy programs have their own databases, GEDCom is now theinternational standard format. David Rencher said, “That means I candownload my file electronically, send it to you and it doesn’t matter what yourprogram is. You can upload the file and add the data to the data in your file.”
This standardization enables some exciting possibilities for genealogicalresearch, especially when different organizations collaborate and configure
their databases to interact with other databases.
Relational databases are the engines that drive digital genealogy. Databases
make it possible to quickly search through enormous quantities ofrecords, find the person you’re looking for and discover related people
and events. When institutions collaborate and share databases, statisticalinformation becomes enriched.
For example, the Centre for Migration Studies in Northern Irelandcollaborated with the Irish Family History Foundation, linking the Centre
for Migration Studies’ database of ships’ passenger lists with Irish Family
History Foundation’s database of Irish church registries. So, from one
conjoined resource you can find birth and marriage information about anindividual and the ship he or she emigrated on.
The Centre for Migration Studies also collaborated with Queen’s University
Belfast to join three databases of differing content to create Documenting
Ireland: Parliament, People and Migration. While most genealogical
databases contain only text and maybe image scans of paper documents,
some are beginning to enhance records with audio and video recordings. On
Documenting Ireland, for example, you can listen to people talk about theirlives and experiences. Similarly, you can enjoy audio and video oral history
interviews on the Minnesota Historical Society website. If you are related
to any of these people, just download and add all the juicy photos andrecordings to your genealogy collection. Audio and video breathe life into
genealogical data.
The collaborative LDS Church project Community Trees also includes
some audio recordings but the LDS Church uses audio selectively. David
Rencher of the LDS Church is cautious about adding multimedia. He said,“Multimedia is going to become expensive to store and preserve. We would
rather come up with ways that we can help you preserve it.”
There are many more types of data and files – aside from scans, photos, audio
and video – that we can associate with genealogical records. For example,
GPS information, accessible from most smart phones and digital cameras,
can be used to mark significant places related to a person, such as former
residences or the location of his or her tombstone.
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Perspectives on Personal Digital Archiving

With genetic genealogy, you could link a DNA profile to a record. Whenrelatives add their DNA profiles to a familial database, it can reveal genetic
patterns. Reagan Moore is RENCI chief scientist for the DICE centerat the University of North Carolina Chapel Hill; he is also a lifelong
genealogist. He said, “If you get a genealogy map of the entire family you
can see who’s at risk for certain inherited problem traits.” According to
Moore, such work is going on in Scotland but naturally the practice requires
discretion and data security.
So why would modern genealogists want to gather all this data? Brian
Lambkin, director of the Centre for Migration Studies, said that adding
multimedia, geospatial data and more, enriches the biographical information
about a person. “Potentially there’s a biography to be written about every
single individual,” said Lambkin.
Amassing a collection of digital files raises the issue of how to store andpreserve that collection. Digital genealogy could result in a heap of text files(such as GEDCom files), image scans (most sites enable you to save an image
in either JPEG, TIFF or PDF formats), audio files and video files. It’s best tofollow the Library of Congress’s personal archiving advice, which is basicallyto: 1) organize everything within one collection folder, 2) backup yourcollection onto several storage media in several different places and 3) migrate
your collection every five years or so to new storage media.
Don’t trust that a third-party genealogy service will always remain in businessand keep your stuff safe forever. You should have your own copy handy andanother copy backed up somewhere else.
For its part, the LDS church is committed to ongoing preservation and accessof its records. It expects to store more than 100 PB of data on tape in its
Granite Mountain records vault, with a copy replicated somewhere else.
Online genealogical data will continue to grow exponentially as more andmore people – lured by the ease and personal reward of discovering family
history – get involved and add to the information pool. There will be more
history to savor and more content to fill out our collections.
It helps that genealogical researchers and family historians are being invited
to contribute information, not just by genealogical institutions but also bycollaborative community sites like Glenelly, Our Home, which encourages
people to contribute their memories and photos of a place and identify
unknown people in other photos (which can then be downloaded and added
to genealogy collections).
Randy Olsen, director of libraries in the LDS Church history department,
is encouraged by this emergence of citizen archivists. He said, “If we allow
members of the community to build and populate their own databases they
will feel a sense of ownership. And the degree to which people participate
and build (genealogical) databases will pay great dividends down the road.”— 25 —

Perspectives on Personal Digital Archiving

The Big Digital Sleep
Jefferson Bailey

Here on The Signal we often talk about the importance of preserving yourpersonal digital materials and we provide a variety of resources offering
guidance on what actions to take. One aspect we have spoken of less often,
however, is what happens to your digital assets after you have “shuffled off
this mortal coil,” to use Shakespeare’s exquisite phrase. Mike Ashenfelder
will discuss this more in the next chapter.
But with the recent release of an app for a popular social media site thatallows users to create a final, farewell video or text that is posted upon confirmation of their passing, as well as an upcoming SXSW panel “You’re Dead,Your Data Isn’t: What Happens Now?” covering the “legal frameworks andstandards” for management of legacy data, it seems time to revisit the issue ofdigital estate planning.
The Problem.
It is by now a trite observation to note the extent to which our lives are
lived “online” and that our personal materials and data exist largely indigital form, are housed in increasingly dispersed locations and are often
held on third-party or “cloud” servers. At the same time, the ubiquity
and accessibility of those digital artifacts of our lives – our electronic
correspondence, our online journals and diaries, our camera phone pictures,
all the digital “evidence of us,” – lends them a familiarity that often masks
the legal and managerial complexity of that arrangement.
That same accessibility also gives those items a misleading sheen of
permanence that defies the realities of what we euphemistically call our“human obsolescence.” As more of our valued “heirlooms” are created, sharedand stored online, and with one popularly-cited statistic (which we canneither verify nor source) claiming that over 285,000 social media accountholders pass away each year, digital estate planning is becoming an essential
part of overall estate management.
The Legal Landscape.
Our digital assets are generally considered our physical or intellectual
property; however, the legal permutations of that fact are still poorly
defined. One early, notorious legal case contesting digital estate issues
involved Justin Ellsworth, a U.S. Marine killed while on duty in Iraq in
2004. Citing terms-of-service agreement language that forbid accounttransfers and terminated rights to content upon death, Justin’s email service
originally denied his family’s attempt to recover his correspondence – adecision later overturned by a Michigan court.
Since that case, five states have enacted laws covering “digital assets” as part— 26 —

Perspectives on Personal Digital Archivingof estate planning, with Connecticut passing the first law in 2005 and themost recent being Idaho, which allows a “conservator of the estate” to “[t]ake control of, conduct, continue or terminate any accounts of the protected
person on any social networking website, any microblogging or short message
service website or any e-mail service website.”
Service Providers Approach.
Most major content or service provides have specific policies for how accounts
can be managed or accessed after an account owner has passed away. While
the processes for handling the accounts of deceased members may differ, mostof these companies will have specific resources available in either their help
sections or their terms of service detailing the steps that need to be followed.
For instance, there can be information on how to memorialize an accountand how to access a deceased person’s mail or microblog. Alternately, somecompanies have specific areas, such as Section 27 of this Terms of Service
agreement detailing account rights post-mortem. Knowing these policies will
help you plan accordingly.
Personal Digital Estate Planning.
There are a surfeit of online resources, articles, as well as conference
proceedings and a burgeoning industry offering online tools and services tohelp manage estate planning for your digital assets. As well, our resources forpreserving your personal digital archive will be useful when organizing yourdigital estate.
Similar to our advice on personal archiving, digital estate planning isorganized around key activities. These include the need to identify all theonline accounts, tools and services which are part of your digital legacy. This
includes obvious entities such as financial and merchant accounts, online
businesses, email, blogs and social media but also online storage accounts,
web hosting information, domain names owned, online gaming information
and any other online activity or service that merits inclusion in your digitalestate.
Web bookmarks are a good way to identify potential sites to be included inyour planning. You will also need to locate your digital assets, which live not
only online, but also on your personal devices. Create a thorough list of all
the computers, external drives and other hardware devices that may containmaterials you want preserved. Describing the location of your digital assets
will help your heirs manage the full range of your digital legacy.
You will also need to document all URLs, usernames, passwords, and,if necessary, specific devices, directories or specific file folders you wantpreserved or bequeathed. Documenting the means of access is requiredfor your digital executor to manage your digital assets. This information
can be consolidated in a password protected spreadsheet or document andperiodically delivered to a trusted beneficiary or preserved in a safe, secureoffline location such as a safe-deposit box.
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Perspectives on Personal Digital Archiving

Documenting your digital estate also includes providing detailed instructions
for how you want your digital archive managed. Should some items or
accounts be preserved, deleted, bequeathed, or donated? Which items should
be delivered to which trustee, friend or loved one? Can your heirs consider
donation of your digital legacy to a local archive?
Lastly, the key step in digital estate planning is to authorize your digital
executor in your legal will. You can grant this power to your overall estate
executor or identify a separate digital executor to handle your digital
affairs. If composing a legal will is too onerous, there are online forms
providing sample language and forms for granting authority to a digital
executor.
Digital estate planning should be an essential part of any personal archiving
effort. Our legacies and memories are now inextricably tied to the digitalworld and are subject to the ephemerality and custodial complexity thatworld entails. Effective digital estate planning can ensure the preservation ofyour cherished assets long after you are gone.

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Perspectives on Personal Digital Archiving

When I Go Away: Getting Your Digital Affairs in Order
Mike Ashenfelder

Nowadays when we prepare a will, we have the added responsibility ofleaving instructions to our loved ones about what to do with our online
things after we die. Bequeathing has grown more complicated.
Much of our online content consists of our writings – email, text, tweets,
blogs, wikis and more – and our loved ones would surely cherish some of it
just as surely as we cherish special old cards and letters. The same goes forour online photos, videos, artwork and other things we’ve created.
All of this content exists in a situation unique to the digital age: it resides incyberspace and, as such, some of it will continue to reside there long after we
die while some of it will get deleted by their hosts after a period of time. But
between hosting servers and online services, the content is held by third
parties and is beyond our immediate control.
A few helpful advocacy groups are spreading awareness of this so-called“digital afterlife,” and an industry of commercial services is growing for
online memorials, digital estate planning, post-mortem email notifications
and more. As messy and mysterious as the process of getting your digital
affairs in order might seem, it actually breaks down into a few steps
The first step is to inventory everything about your online life, such as youremail accounts, Facebook, Twitter…everything. Use a speadsheet or create atable in a word-processing document. For each website, list the name, URL,
your username and password. Include any additional information someone
might need to access each account. Or indicate if you want an accountdeleted.
Note if there is any money at stake in an account or if there are any business
implications.
The second step is to research any rights issues that may impede your heirs
from accessing your accounts. When you create an account on most sites
you agree to its policies or terms of service. Check each site for their policy
on deceased members and the access rights of heirs. Determine what
authorization you may have to supply, if any, and jot that information downon your inventory.
Some sites allow users to be memorialized after they die. Would you likethat? Some sites permit account access to heirs and some don’t; those that
don’t may offer instead the option for heirs to download the deceased user’s
content. Some sites delete an account if it remains inactive for a period oftime or if a due payment is not received, so note on your inventory if a site
has time-related conditions. The Digital Beyond, an online resource for
digital legacy information, compares policies for several of the top email and— 29 —

Perspectives on Personal Digital Archivingsocial media sites. When dealing with third parties, such as the sites thathost your accounts, know your rights.
It may help to designate a digital executor, someone who is Internet savvy,
can carry out your instructions and, if necessary, work with the legal
executors of your will. Attorneys know what they know and geeks knowwhat they know; get the right person for the job.
The third step is notification. Tell your heirs about your intentions for yourdigital content. You don’t have to share usernames and passwords yet, just letthem know that you’ve created a document with detailed information about
your digital possessions and tell them where you will keep that document
once you print it out. A logical place for it would be with your will or otherimportant papers.
Also, leave instructions about who to email about your death. Your email
contact list could be lengthy, so it may be wise to print the list and cross out
the names of the people you don’t want contacted.
One additional option to consider is downloading all of your online digitalpossessions and backing them up with your personal archives. This can betime consuming and, since online content changes constantly, you’ll need torepeat the download periodically. But it will be less of a hassle for your heirs
to find and access your digital belongings.
Above all, do your research. There are many digital-legacy services emerging;some might interest you and some might not. Do you want to designate an
online memorial or grieving site on which your loved ones can commemorate
you? Do you want to build an online avatar-ish digital replica of yourself that
may continue to exist after you die? Do you want to arrange posthumous
email messages from you to be sent out? Maybe you can find a digital estateplanning service that will take care of everything. Search online for phrases
like “digital legacy,” “digital executor,” “digital afterlife” and similar wording.
Planning is tedious but crucial and your heirs will appreciate your considerate
forethought.

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Perspectives on Personal Digital Archiving

Personal Reflections on Personal
Digital Archiving— 31 —

Perspectives on Personal Digital Archiving

Confessions of an Imperfect Personal Digital Archivist
Bill LeFurgy

I keep lots of digital photographs. Hundreds – thousands? – of family
members, colleagues and others reside in my collection and are, as Susan
Sontag said, “illuminated by a flash, fixed forever.”
As forever as I can manage, that is. Digital photos, like all computer files,
are disturbingly prone to corruption and loss. As someone long involved
with digital preservation, I worry about things like bit rot, failed hard drives,
obsolete media and other technological risks. Sobering threats all, but they
aren’t the biggest problem facing my personal digital files.
Frankly, I am the major issue. Risk correlates directly to the time andattention I allocate to manage the collection. Time to record metadata– significant details about the who, what and where – for each picture;attention to organize files into meaningful categories. The work is seductively
easy to defer. It’s easy to assume that all the important details remain safe in
my head.
There will always be time in the future, right?
I do some things fairly well. I have a specific directory on my computer for
all photos, and the directory is duplicated using a web-based file hosting
service. There are sub-directories arranged by year, and within them are
additional categories arranged by subject. This basic level of control arrived
some years after I shot the first digital photo or scanned the first 35mm slide,however.
For a long time I had unselected and uncorrelated batches of photos stored
in separate directories on separate computers, storage devices and online
services. My approach was to get the images off the camera and work onthem later. Later was, well, always later. Every so often anxiety about losing
an especially valuable group of pictures would compel me to copy themamong devices. That left me with many duplicate images within the corpus
as a whole. Things were getting progressively more disorganized as time
passed. Motivation for change came when I started thinking about estateplanning. “How,” I was forced to ask myself, “can I pass this photo mess on
to my kids?”
The prospect of bequeathing a patrimony of regret focuses the mind.
The heart of the matter was that most of my photos were essentiallyopaque. It was hard for me to know exactly what I had and really hard tofind a specific item. In considering my mortality, I knew that it would be
extremely hard for anyone else to use these disorganized and unidentified
photos, even though they document important family memories. I couldn’t
even be sure the pictures would be found at all postmortem.
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Perspectives on Personal Digital Archiving

It took me days to track down all my stray photographs on my multiple
computers, external hard drives and social networking sites. Organizing files
by year and then by subject took a while longer, after which many duplicate
images were revealed. I meticulously compared the duplicates to find thebest shot with the highest resolution and ruthlessly trashed the others. I thenchange file designations such as “DSC_0045.JPG” to a descriptive title foreach photo, while also adding metadata about the people, places and othersignificant things pictured.
My next step was, as our very own digitalpreservation.gov personal archiving
guidance says, to make copies and store them in different places. I copied
the centralized photo directory from my home computer to an external
hard drive, which I stored in a remote location. I then used a web-based
file hosting service to create exact copies on two home computers and a
cloud server. Finally, I printed out a written list of all the photos as they areorganized, along with details about where they are stored; that went into mysafety deposit box.
To be completely honest, I still have lots of work to do making my photos
easier to find and use, especially by adding metadata. But, with everything
centralized and securely backed-up, it is possible to devote a few minutes ofspare time each week slouching toward better descriptions. Having a basicorganizational scheme in place also helps me categorize and store the steadyflow of new pictures.
Generalizing from my own experience let me offer some conclusions. First,
people other than you probably care deeply about your personal digital
photographs, and it’s a great investment of your time to make thosephotographs as useful as possible. Second, start where you are and aim forincremental improvement, while ignoring the burden of expecting immediate
perfection.
To put it another way: personal digital archivists of the world unite! You
have nothing to lose but your opacity!

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Perspectives on Personal Digital Archiving

One Family’s Personal Digital Archives Project
Mike Ashenfelder

In 1958, Vernon James was an adventurous young man from Colorado who
landed a job teaching in Germany for the Department of Defense. During
his 16-year stint there, he travelled extensively throughout Europe – including
several visits behind the Iron Curtain into West Berlin – and he took lots andlots of photos.
Decades came and went and in 2005 Mr. James – who was retired by then –decided to scan his European slides along with the other slides and photos hehad accumulated over the years. “I was ignorant of scanning when I started
this project,” said James. “I had heard about scanners and bought a scannerwith a slide attachment and I started scanning all of my slides.”The scanner did just what Mr. James wanted it to do: it scanned. Whenhe finished the slides he started on photos: from his wife’s year teaching in
Ethiopia, from his wedding and more…a lifetime of personal photos. “Afterthat we started scanning everything I had in the house,” said Mr. James. “Iscanned everything from my birth certificate to things from my earlychildhood and little clippings in the local newspaper,” Mr. James said.
“I had a brother, Bob, who died in a Japanese prison camp in 1942 and mymother had saved the letters and memorabilia from him and I scanned all of
those.
“I scanned letters my wife had written when she was overseas. And it kept
on mushrooming. I kept finding more and more letters and documents. My
wife has kept a diary starting from back in 1965 and I think I have 35
years of diaries scanned.” Vernon had built up momentum and was being
productive. What could go wrong?
Mr. James’s son, Stan, a game designer and Internet startup founder, wasvisiting his parents during a summer break from grad school, when Mr. James
offhandedly told Stan about his project. “I was excited that he had done thison his own,” said Stan. “And being the tech guy, I looked his project over.”
Stan saw right away that the resolution was set way too low and the photos
were in a virtual heap. In fact, one of Mr. James’s challenges in his project
had always been organization. He said, “I didn’t have a system. It was
just a hodgepodge.” Stan said, “I helped him put the scans into folders by
year. And then shortly after that we had to separate by side of the family.”
After resetting the scan resolution and organizing the files, Stan bought his
father a hard drive on which to store and preserve his stuff. From then on
Stan was involved with the project, out of personal and professional interest.
It’s not that Mr. James did anything horribly wrong. In fact, he’s a smart
man who he did the best he could with the little information he had. The— 34 —

Perspectives on Personal Digital Archiving

problem was more a scarcity of consumer-friendly personal archiving
information that clearly addressed what Mr. James and millions of others
were trying to do – create a digital archive of their personal stuff. Stan knewthat if he and his dad were to work together, Stan had to keep his suggestions
and information simple in order to avoid overwhelming his father.
From the early days of the project, Mr. James had diligently typed comments
into his photos. Stan was shocked to find that the software Mr. James wasusing, the software that came with the scanner, was actually engraving
the captions right into the photo image, not adding the captions into theback end of the file, as it should’ve. Hundreds of photos were marred withcaptions. Stan said, “It was almost as if you were to take a Sharpie pen andwrite on top of a print.
The James’s found great personal value in adding captions and tags todescribe the contents of each photo. Stan said, “I and other family members
were starting to ask dad questions, like ‘Who is that person in the picture?’and ‘Where was that taken?’.”In fact, captions and tags became so essential to the project that, when Mr.
James had surgery on one of his fingers and couldn’t type well, Stan got him
speech-to-text software and a headset. “My dad would sit in front of thecomputer with a little headset and just talk about the pictures as they wentby,” said Stan. “My mom would laugh that her husband spent all day in theoffice talking to himself about the past.”
Mr. James’s relatives helped him identify names and places in thephotos. Stan said, “Sometimes my dad will grab some relative and say, ‘Hey,
look at this picture. Who is that guy in the background?’. Eventually I
wrote some software to share our photos online, where family members could
contribute captions and tag people, no matter where they are.” It’s sort of like“kin crowdsourcing.”
The tags not only helped the James family organize and find photos, it helped
other people discover them online. Stan said, “A few weeks ago I got a callout of the blue, this guy with a thick German accent, saying that he hadfound the pictures that my dad took of a base in Germany where he had
lived. I’m sure the guy was just Googling ‘Nellingen Barracks’ and foundthe captions that my dad typed in. And this guy was sort of an archivist forthis military installation and he was asking permission to take some of thosephotos to put on the website he had set up for that base. That was a goodfeeling that my dad’s work wasn’t only for our family but it could also help
the wider community too.”
Stan is frustrated that he can’t easily advise people on how to do a personalarchiving project themselves, let alone share one online with othercontributors. He said that most of the necessary tools still are not easy
enough to use. Stan said, “And on the scanning side, you need to know
about file systems and setting up folders and things like that, which is far too
complex for most people. And frankly, they don’t need to know about that— 35 —

Perspectives on Personal Digital Archiving

level.”
Photos, which stimulate memories more than any other medium, havebrought the James clan a little closer as they dig up more photos andscrutinize the content. Sharing the photos online helps preserve them (inaddition to Mr. James backed-up originals) by spreading copies around.
Even after digitizing well over 20,000 items, Vernon and Stan James are far
from finished. They say there is always more to digitize and there are more
people and places to identify. Stan said, “The one thing that we’ve learn fromthis project is that it’s never done.”— 36 —

Perspectives on Personal Digital Archiving

My Weekend Project
Erin Engle

I bought a new computer this summer. I immediately copied all of my digital
files from my old computer to my new one and to an external hard drive.
Now I had three copies of my digital content on three different
devices. Now, if something happens to one of those media, I’ve got twoothers that have all my files saved (and safe). Great, right?
Well…
The hard drive on my old computer was failing, which is why I got a newone. My digital files on that drive aren’t exactly safe even though they are
saved for the time being. Copies of my files on my new computer and myexternal hard drive are relatively safe (crossing fingers that those media don’t
fail). Not to mention, I had two copies of ALL of my digital files, of which I
had a general idea about what they were. But I certainly didn’t care about allof them.
This wasn’t a great start to creating my own digital archive. I know exactly
the advice and steps to follow, so why wasn’t I doing it?
Because, I was being lazy. I am by no means as vigilant about archiving
and backing up my personal files as some of my colleagues here at the
Library. I’ve never experienced personal data loss (knock on wood) and I’ve
never had enough digital files I’ve truly cared to save long-term.
Until now…
I started taking digital photos when I bought a camera about seven years
ago. I first purchased digital music files around the same time. I wrote
tons of papers for grad school. I completed my Federal and State taxes
electronically. I created or saved all of these digital files on my old computer.
My digital photos and documents hold personal value, and my music files,
most of which I’ve purchased, are valuable literally. I truly care about saving
and preserving these materials. Time to create that archive.
Comparing what I’ve done so far with NDIIPP personal digital archiving
guidance, I’m not in bad shape. I’ll admit I’m just barely performing thesteps of this guidance. I could (and probably should) be more cognizantof the file formats and software programs used to access my files, forexample. But this is the level of effort I choose to devote to save my digital
information of personal value. Hopefully it’s enough for right now and for a
few years down the road.
Given I don’t have a large amount of digital content as compared to otherpeople I know, I should be able to finish my archive this weekend.
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Perspectives on Personal Digital Archiving

So, let’s see where I stand against the guidance.
Identify where you have digital content of personal value –CHECK. (Although I have a few flash drives from grad school and I have noidea what’s on them.)
Decide which of that content are important and which digital files should besaved – CHECK. (I think… for the most part.)
Organize the digital files with meaning file names and a logical directory
structure – NOPE. (I haven’t even starting thinking about this step yet.)
Make at least two copies of the organized digital files and store them in
different locations – CHECK. (I keep my external hard drive at my family’shouse, who live in the area. +1 for me – I’ve got step 4 down!)— 38 —

Perspectives on Personal Digital Archiving

Personal Archiving – Year End Boot Camp
Barry Wheeler

With the large size and amount of my personal digital archives, my archiving
problem may be a bit extreme, but I think a description of my archiving
system may be helpful to many people who want to save and preserve theirdigital files. I am a photographer and I have tens of thousands of pictures,
including both professional and personal work, to archive each year. Add in
my routine papers, spreadsheets, and data files and I often have over 500 GBs
of digital files to preserve at the end of the each year.
I do maintain backups – but in my system, backups cannot be consideredpart of my archive. Backups preserve current work. Over the years, as drives
fill up or I change computers, old files are removed from the primary driveon my main computer. I want to preserve all these files that are no longer
part of my backups. My backups are also compressed and maintained byproprietary software. I’d prefer to have my archive in common standard
formats that will be readable in the future – or at least will be easy to convert
to an accessible format. Therefore I have developed a system of yearlyarchiving. Again, this system is mainly for those with above average amountsof digital material. For others, do not be discouraged by this! I’ve provided
a simpler version for those with less material.
I prepared for my archiving task well in advance. All my content files are
stored in directories by broad general topic, then in subdirectories namedby date and specific subject. (All of my data subdirectories begin with thedate in YYYYMMDD format so they sort automatically most recent tooldest). Once the files are organized, I follow these six steps in my end-ofthe-year archive processing:First, I purchase a new external hard disk drive each year. I name the newdrive – physically with a tape labeler and electronically in my drive properties
tool. Thus, this years’ drive is ARCHIVE11. I also name a top-level
directory “archive11”.
Second, I copy all documents for the past year to the new drive into the“archive11” directory. This should take about 33% of the drive space.
Third, I setup a powered USB hub connected to my primary computer andconnect each of my yearly archive drives to the hub – each drive should
appear on my computer desktop as ARCHIVEXX.
Fourth, I check the available space on last years’ drive. If I usedapproximately 33% of the space last year I should have enough space, so
I create another top-level directory named “archive11”. Again, I copy all
documents for the past year into this “archive11” directory. I now have twocopies of my past years’ documents, each on a separate drive. As part of my— 39 —

Perspectives on Personal Digital Archiving

archive plan, I also keep a copy of my very best images on a remote, “cloud”
site, but that’s another blog.
Fifth, I use a disk utility to check (and repair if necessary) the integrityof each external drive. Then I check file permissions with repair on eachexternal archive drive. I also randomly select and open a number of files fromeach drive and each archive directory.
Finally, I import both the new archive directories into my cataloging database(again, perhaps a suitable subject for another blog) and then power down andstore each drive with its’ power supply until next year. At this point I candelete all archived files I do not intend to work with immediately from myworking drive. My yearly archiving processing is now done!
As promised, this process can be simplified and used by anyone who wants toarchive their most important digital documents. The basic process a user canfollow is:
Gather all your important data files into one master directory.
Arrange them by year – especially if you archive tax files.
Make copies of the files. If the total directory size fits on a CD (i.e. lessthan 600 MBs), then make separate copies on two archival gold CDs. The
life expectancy of an inexpensive or standard CD is uncertain so I think thearchival gold CDs are worth the extra expense.
Continue copying each year, on two new gold CDs.
Check all CDs yearly. If your document collection is too big for CDs, use
external hard disk drives – and be even more vigilant in checking the drives!
This year I went an extra step – I added all the files saved in my CD-ROM
archive over the past 16 years to my external hard disk drive archive. Thissecond step is the subject of this blog post – that is, facing the reality, on a
personal level, of all the issues archivists have discussed for years.
The transfer of content from one digital media type to a different typeis called “format conversion”, or simply “reformatting”, and is similar to
microfilming books and paper materials. This process is critical in the digitalworld – can any of us in 2012 easily read content from the 8” and 5 ¼”
floppy disks so common in the 1980s? As I discovered, even though we still
have the equipment to read CDs, other issues make the conversion necessary
ASAP for those who want to archive their personal materials.
First, a stark summary – as a digital professional, I have 4 CD-ROM drives
on MS Windows XP, MS Windows 7, Apple OSX 9.7 and Apple OSX 9.6. I
have 62 CD-ROMs dating back to 1998. Of these CDs, one data disc looked
OK but could not be read on any drive. Later I discovered a broken program
disc. There were also two files (on different discs) that could not be read or
copied, as well as 252 files that could be copied to the external archive drive
but which were reported as “not readable.”— 40 —

Perspectives on Personal Digital Archiving

These results represent all the common problems of digital reformatting
in general, and of CD-ROMs in particular. Interoperability was an issue
for early generations of CD-ROMs , and I found that I needed 3 different
CD-ROM drives to read my 62 discs. CD-ROM deterioration was anotherissue – particularly with inexpensive discs created on home machines. I could
read all of my commercially created discs – all my “read” problems were on
inexpensive discs I created myself. Unfortunately, I had not purchased any
expensive gold “archival” CD discs – and I certainly should have used those.
The 252 files that were not readable represent the problems of proprietary
software and software obsolescence. Several old video formats were notrecognized but were readable when I manually associated the video file withnewer video software. A multi-file interactive instructional lesson was notrecognized – and I have yet to find a copy of the proprietary program used tocreate and play back the program.
What’s worse, my old federal income tax records from 1999 through 2006
were not readable! I did not have a software program on my computerthat could recognize the proprietary file type used to store those records
since I changed from one tax preparation program to another in 2007. To
read the files I had to retrieve my original tax preparation program discs – a
different program for each tax year and load them onto my computer. But I
discovered the disc for one year was broken into pieces – the disk was stored
in a standard 3-ring binder of standard CD-ROM sleeves. I don’t know how
the disc was broken!
Luckily, when I loaded the 2006 tax preparation software version it wasable to read all previous data. For now I’m retaining the program disks –sometime I’ll experiment to determine if I can copy the 2006 program CDof the tax preparation software, which was designed to run on Windows XP,
to my external archive hard disks and then install the program to my current
Windows 7 computer. In the meantime, I’ve created and saved, on myexternal disk archive, a simple text file that documents the problem and thelocation of the original program disk.
These challenges illustrate some common difficulties in retrieving older
personal digital records.

— 41 —

Perspectives on Personal Digital Archiving“It’s Dead, Jim”: Resurrecting an Obsolete File
Mike Ashenfelder

While clearing out some personal clutter recently, I came across an old
CD-ROM, published in 1989, that I always assumed was of great culturalvalue. Of course, when I tried to play it I got nothing but error messages andI set about finding a way to make it work.
The CD-ROM is the Electronic Whole Earth Catalog, which consists ofcontent from the Whole Earth Catalog, a so-called “counterculture” print
publication filled with practical tools, ideas and information not usuallyfound in mainstream media. Its effect on our culture – our awareness of how
we live and how we can better our lives – has been quietly pervasive. Steve
Jobs acknowledged its influence in his 2005 commencement speech at
Stanford University by touting the Whole Earth Catalog and using its
philosophy as a rallying cry.
So it was a significant milestone back in 1989 when the catalog was converted
into an interactive CD-ROM. The Electronic Whole Earth Catalog
contained 2,500 reviews, 4,000 pictures, 2,000 text excerpts and – a novelty
at the time – 500 sounds, mostly music (linked to music reviews) and bird
calls (linked to Audubon Society bird information). Everything was smartly
organized and hyperlinked for users to explore.
I figured that my copy of the Electronic Whole Earth Catalog was the digital
equivalent of a rare book, a cultural artifact from a pivotal intersection ofculture and technology. An object of value. Even though the disk was over
20 years old, surely I could find something online that would enable me toplay it.
The problem was not with the CD-ROM; after all it’s only the container
in which the application resides. The problem was running the Hypercard
application – or “stack” – that the Electronic Whole Earth Catalog was
created in. (Hypercard enabled linking between metaphorical “cards” orscreens and is arguably a forerunner of web browsers.) What the stack needs
to run, according to the systems requirements, is a Mac Plus/SE/II with
1 megabyte of memory, Mac system software 4.2 and HyperCard 1.2. I
had none of these and my 2009-era computer couldn’t accommodate theantiquated technology.
I had only a few options. I could track down and buy an old Mac with theappropriate operating system but that was impractical since I really had nouse for it aside from looking at this and a few other old stacks. Instead I tried
to find some website or software that could convert or emulate – mimic – theold Hypercard software and Macintosh operating system. I searched andsearched but couldn’t find a simple tool to convert or run the application andthe few tools did find required a bit of techno-jiggering that I didn’t have the— 42 —

Perspectives on Personal Digital Archiving

time or patience for.
After mucking around online for far too long, I came across some screen
shots of the Electronic Whole Earth Catalog as well as a working emulationof an old promotional music Hypercard stack by the group They Might Be
Giants… and that’s when my enthusiasm for the project quickly faded.
The look and feel of the Electronic Whole Earth Catalog seemed dated, plain
and unappealing. Big-pixel jagged black-and-white graphics. Click a buttonand display a card; click another button and play a sound. That’s it.
In the years since the Electronic Whole Earth Catalog’s release, the cells ofhigh-tech innovation have rapidly divided and subdivided, one innovation
begetting another, and our standards of “gee whiz” wonderment have evolved
a lot. Just about any app on my smart phone is much cooler and moreengaging than the Whole Earth CD-ROM. Which raised a few questions:
If the catalog is available in book and PDF formats, why bother hacking thisHypercard stack? What’s the point of making it usable again aside fromcuriosity?
The same question could be asked of any other outdated software. Modern
rendering engines are better than older ones, modern graphics are more
lifelike, modern game response is faster and it’ll all keep evolving. Who
really cares about reviving old applications?
For a while I considered throwing the CD-ROM away. After all, maybe it
really was just a useless relic from some bygone era, one more thing that I was
hanging onto for nostalgic reasons. Maybe, in the spirit of weeding out mypossessions, it was time to let go and toss it. Eventually, out of frustration,
I questioned its value and wondered who actually cared about outdated
software. So I consulted some colleagues.
It turns out that some gamers care, especially those who are fanatical about
the original look and feel of favorite old games. Many are dedicated enoughto build their own emulators in order to continue playing the games.
And some cultural historians care. Geoffrey Brown, professor of computerscience at Indiana University, says that cultural historians with technologicalinterests may want to access old CD-ROMs to study the design decisions.
For example, the Library of Congress’s American Memory was initiallycreated for Hypercard. Carl Fleischhauer, digital initiatives project
manager at the Library of Congress, worked on American Memory from its
inception. Fleischhauer said, “American Memory was put onto CD-ROM
between 1990 to 1994. Then theMosaic browser came out and it became
possible – and better – to put it all onto the web. We migrated all thecontent; nothing was lost. But even though the original disks still reside here
in the Library, we can’t play them to see examples of our own original work.”
Brown has worked extensively with vintage CD-ROMs and he said,“Technology isn’t the problem, just lack of demand.” Indeed, just as— 43 —

Perspectives on Personal Digital Archiving

a cylinder recording circa 1900 will still play on a cylinder player,
the Hypercard application will play on the appropriate hardware andsoftware. But lack of demand makes it difficult for the average person to find
free or low-cost resources.
Some institutions have created labs comprised of vintage technology,
which they use for research. The Maryland Institute for Technology inthe Humanities at the University of Maryland, for example, has collected
hardware and software that date back to the early 1980s.
MITH’s preservation services are not open to the general public – it mostly
serves the university and funded projects – but some outside researchers canfind help there. Matthew Kirschenbaum, associate director of MITH, said
he recently helped an out-of-state artist who wanted to restore some of his old
digital artwork because he – the artist – valued its original appearance.
The Archeological Media Lab at the University of Colorado at Boulder serves
a similar function as MITH. Such labs are becoming increasingly necessary
as institutions acquire collections that contain digital media, diskettes,
CD-ROMs and even whole computers. Emory University is the recipient ofsuch a collection, the Salman Rushdie archive, which includes the author’s
personal computer resources.
In this video, Emory staff discuss the uniqueness of the collection forrecreating Rushdie’s writing environment, such as Rushdie’s penchant fordesktop sticky notes and the way his pages fit his computer screen (suggestingthat the screen size may have influenced some of his composition decisions).
The Rushdie collection demonstrates the value of preserving vintage
technology to support versions of artist’s digital work. It’s similar topreserving paper drafts of an author’s work to compare with the finishedversion, such as the drafts of Langston Hughes’s poem “Ballad of Booker T.”
or Beethoven’s manuscript of Opus 109.
Geoffrey Brown notes that preservation of electronic games still has not
improved and in time our modern games will, too, become inaccessible
because of hardware and software dependence. “Look at today’s gameplatforms,” Brown said. “It’s virtually impossible to emulate them.”
Leslie Johnston, manager of technical architecture initiatives in at the Libraryof Congress, said that even our precious smart phone apps are destinedfor the same fate. “An app isn’t any better than a Hypercard stack,” said
Johnston. “Because an app, twenty years from now isn’t going to run easily
in the same way that a Hypercard stack isn’t. That app requires a certain
operating system and certain hardware to operate.”
So the app, the game, the interactive CD-ROM…all eventually becomemuseum pieces. That’s exactly where the salvation for curating andpreserving vintage technology is likely to come from: museums, libraries andarchives such as MITH, the Archeological Media Lab and Emory’s Rushdiearchives.
— 44 —

Perspectives on Personal Digital Archiving

Kirschenbaum defends the preservation of vintage technology in selectcases, if only for the primary experience itself (as opposed to simulating itwith modern emulation methods). He said, “What you risk missing out on,even with emulation, is the entirety of experiencing the work in its originalenvironment. Sometimes the complete physical platform, the hardware, theoriginal technology is important and it is integral to what that thing is…Even
if the graphics don’t look great by today’s standards, that particular look that
we associate with a certain moment in computing – the pixels and the jagged
appearance, the 8-bit graphics and tinny sound effects – that’s important forthat work and for a lot of people it has a lot of emotional power behind it.”Or an appreciation by younger audiences for creations from the past.
Those of us considering what to do with our old software or hardware may
face difficult appraisal decisions.
How about the stuff you created? Artwork? Documents? Kirschenbaum
said, “If your personal data is important to you then you should become apreservation activist and know about the steps you can take to get it back.”
A lot depends on formats, of course. A twenty-year-old GIF file shouldbe easy to open in a modern graphics program but a text document might
be more difficult depending on the word processing program you initiallyused. Of course, once you restore your files, if they have personal value you
should back them up on modern media. If they don’t have personal value – if
it’s old homework, for example – delete them.
Commercial software and hardware are different. They have broad appeal,
since many people enjoyed them at one time and, by dint of their widespread
usage, they are true cultural artifacts.
One archiving solution is to donate them. If you can upload your software,
the Internet Archive has a software archive that accepts donations. The
Computer History Museum in Mountain View, California, accepts softwareand hardware donations. They have an online checklist of what they want
and what they don’t. The Computer History Museum is open to the public,so generations of visitors may be able to appreciate your donation.
And that’s what I decided to do with my CD-ROM of the Electronic Whole
Earth Catalog: donate it. Better to have it curated by professionals andenjoyed by the public then neglected in my basement.

— 45 —

Perspectives on Personal Digital Archiving

The Results of One Scholar’s Survey: What Are Your
Plans for Your Personal Digital Archives?
Sarah Kim

Between June 2010 and December 2011, I interviewed 20 people about how
they manage and preserve their digital documents and I asked about theirlong-term plans for their digital stuff. The interviewees were from varied
backgrounds, including a policeman, a cartoonist, a restaurant owner, alawyer, an artist, a designer, a librarian, graduate students, retired professors, asocial worker, government employees and a software developer.
During each interview, I asked the participants what they plan for or expect
to happen to their digital documents that they leave behind. I got a range ofanswers that I’ve organized into six categories:
•
•
•
•
•
•

Delete everything
Near the end of my life, create a condensed collection withselected documents
Sort and distribute documents to people and entities, such as
family documents to individual family members and work-related documents to colleagues
No particular plan at this moment but will eventually leave
instructions in a will for disposal or access
Allow caretakers or others to manage, select and keep things
they want
Expect materials to be lost or deleted eventually

People have different plans for different materials. One participant said that
he would like to delete everything before he dies. But he wants to leavecertain documents to his daughter, especially digital photos of her – including
her ultrasound pictures – that he has been diligently preserving.
One participant said that she wants to create a condensed collection near
the end of her life. She wants to be remembered by her family and friends
but she also thinks that her documents might be useful for other people, say,for understanding family history or studying how people live in the 21th
century. But she has concerns for her privacy and feels uncomfortable aboutother people looking through her personal files.
Another participant sees sorting out her digital files as an opportunity toreview her life. She also prefers to do it herself: “I don’t want to give others aburden of managing my files.”Some participants will allow caretakers to manage their documents becauseof either the potential usefulness of personal documents for other people ora wish to be remembered by family and friends. They would also rather let— 46 —

Perspectives on Personal Digital Archiving

others handle the task because it is difficult to predict what may be useful forothers and they are not concerned what happens after their death. Said one
participant, “I don’t mind [people looking at my files], if I am dead.”
Here are some reasons that might affect the deletion or preservation of
personal digital documents.
Reasons for preservation:•

Potential usefulness for other people, such as family history orother research• Wish to be remembered by family and friends• Sentimental attachment to certain documents, photos, recordings, video or other digital things
Reasons for deletion:••••

Desire not to leave any trace behind
Concerns for privacy
Personal nature of documents (e.g., “My documents are justfor me”)
Belief in future disinterest in my documents

Overall, consideration for future generations in their family or
potential audiences seems to be one of the main deciding factors forpreservation. Most participants want to either actively or passively pass on
at least some personal digital documents after they die. From the archives
perspective, this is one of the moments when personal digital documents
transform from “evidence of me” into “evidence of us,” as Australianarchivist, Sue McKemmish observed.
What they want to pass along is not so much about themselves but more
about things that can be useful for others. To many participants, the idea of
passing belongings along to others seems supported by their own appreciationof having documents passed along to them from previous generations in theirfamily, documents they considered valuable for learning about others moredeeply, to explore family history and genealogy, and thus to understand who“I” am.
The theme of “for others” is also quite clear regarding what some participants
do not want to leave behind, materials that they consider private. Moreover,the most passive cases, where participants simply expect their digital
documents will eventually be lost, is also based on the idea that personal
documents are “just for me,” thus “no one will be interested in them.”
Many participants, who have no plans at the moment but hope caretakers
will handle their documents, talked about the potential usefulness of theirdigital documents for other people, not only just for their family and friends
but also possibly for unknown people. They would rather let others decide
what is useful for them.
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Perspectives on Personal Digital Archiving

I expect that the participants’ thoughts will change as their lives move
forward, so I intend to follow them over the next ten or twelve years.
What I learned from the participants is quite simple and by no means
surprising: people see their digital documents as having potential value forothers. They want their digital documents be useful for other people in thelong run.
As several participants commented, managing digital documents can beburdensome work. I wonder, however, if consideration for the virtualpresence of “others” – family member, friends, colleagues and unknown
people – can make everyday digital record-keeping a more meaningful andenjoyable practice. I think it can.

— 48 —

Perspectives on Personal Digital Archiving

Have Obsolete Digital Media, Will Travel
Keri A. Myers

I never planned to have obsolete digital storage media as a travelingcompanion. It just kind of happened… and I’m an archivist with lots ofexperience working with digital materials!
This summer I relocated to the Washington, DC, area after spending the last
six years living and working as an archivist in London, England. It is good to
be back in the country of my birth and I return with some good experiences
under my belt.
My first job in the UK was as a project manager for the Trades Union
Congress Library Collections at London Metropolitan University. I managed
The Workers’ War: Home Front Recalled and Winning Equal Pay: the valueof women’s work.
The task was to digitize a substantial part of the collections and create two
websites to make those resources available. I oversaw the digitization processof photographs, posters, letters, pamphlets and other ephemera. I createdarchival data copies, added all the metadata to the collections management
software and prepared and converted oral history and video clips for
uploading to websites.
My work experience at the TUC Library six years ago really sparked
an interest not only in digitization but the issues surrounding digitalpreservation.
Another part of the job which I really enjoyed was working on outreachand education. Together with our project partners, I built a mock factory
which was a traveling exhibit highlighting the work experiences of those in
Britain during the Second World War. Taking place in year of the sixtiethanniversary of WWII, we toured the country at commemorative events,
culminating in the great celebration in London’s Hyde Park.
My next stint of employment was at the Vaughan Williams Memorial Libraryat the English Folk Dance and Song Society. As the organization’s first everarchivist I had my work cut out for me. I was in charge of developing anarchival program to accession and catalog the organization’s rich history
focusing primarily on the manuscript collections but also was left to tackle
the organization’s rich film and audio collections.
I focused on creating condition reports for manuscript collections to bedigitized, which lead to Take 6, a searchable database of manuscripts from six
folk song collectors, as well as the digitization of Cecil Sharp’s diaries fromhis collecting trips in the Appalachian Mountains.
So as I find myself in a new city looking for new opportunities I havestarted volunteering at the Library of Congress with NDIIPP to further my— 49 —

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understanding and interest in personal archives management and digitalpreservation.
And just like NDIIPP, my interest is in the personal as well as
professional. My parents were elated with my return to the US–it meant
I could finally claim all my boxes in their attic. Now I am working on
processing my personal collection of papers and finally tackling my digitalassets as well.
I am ashamed to admit that I’ve traveled with obsolete media from the
U.S. to Europe and back again. I have set myself a goal to finally organize
my papers and do a bit of personal digital archiving to rediscover what I
dumped on those Zip disks all those years ago. Meanwhile, I’m looking
forward to testing NDIIPP’s personal digital archiving advice.

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Forestalling Personal Digital DoomTess Webre

Even though I’m relatively new to the professional library world, I’ve longknown that digital preservation on a personal level is a daunting task lacedwith threats of doom. It requires great amounts of time, energy and consideration with very few visible benefits from day to day.
Like organizing a closet, or rearranging a kitchen cabinet, personal digitalarchiving is easy to put off, easy to forget and easy to make excuses foravoiding. It is tempting to look at disorganized files and pantries and shrug
them off by saying “I’ll work on this tomorrow.” How quickly we realize theerror of our ways.
As soon as a disaster occurs and we find ourselves surrounded in disarray andmust pick up the pieces. Just as kitchen cabinets need to be organized after abag of rice spills on the floor, we start thinking about digital archiving after
we can’t find a file, or access a piece of software.
Who among us has not lost a piece of valuable digital information? Ourdata can go out with a bang of a laptop being dropped or the whimper ofscratch on a CD. We can lose our data with the excitement of graduationor the mourning of a funeral. Personal files can be lost with the closing of acompany or the changing of a leader.
For reasons as diverse as natural disasters to software obsolescence,
accessing our data can be impossible. We can discover the inaccessibilityof the data immediately, months or even years after it occurs and feel thesame paralyzing inability to do anything about it. Is there anything more
frustrating than this?
It seems to me that there are two paths following the loss of data. Option
one: consider this to be a fluke, and continue on with day to day life without
making any of the necessary changes to preserve data. By ignoring thegreater implications, the data loss will be repeated. It is just a matter oftime before more and more data becomes lost. It will start as a trickle, andbecome a flood. Until responsibility is taken, this will become a cycle.
Option two: learn the implications of this data loss: if one piece of digital
data can easily become inaccessible then any piece of data can become
inaccessible. This puts every photograph, every email, every home video,
every e-filing and every other bit of memory in your digital history on
the proverbial chopping block. That is a terrifying possibility, but not an
inevitability as long as steps are taken to actively preserve digital data.
However, taking the next step can be difficult. With the relative newness ofdigital preservation and the plethora of different storage facilities and types,
one can easy get lost in a technical jargon, and ambiguity. It can lead to— 51 —

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more questions than answers.
What exactly is metadata and how do I make sure I have enough? Is it betterto preserve material in the cloud or aphysical storage media? As the questions
mount, so does the frustration. It becomes easy to just give up on trying topreserve personal data for the future, to continue to put off the necessary
steps until the next disaster occurs, thus starting the whole process over again.
One of the things I’ve learned during my internship is just how useful the
NDIIPP personal digital archiving information is for helping people do theright thing with personal files. Written in a clear and relaxed tone (and,really, I’m not trying to curry favor!) I’ve found the website, as well as blog
posts by Mike Ashenfelder and others to answer all kinds of questions.
I wish I could testify that the NDIIPP information has totally dispelled myfear of impending digital doom. It hasn’t. But it has inspired me withideas and insights I can apply to push my personal digital threat level back toa safer place.

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Remember When We had Photographs?
Leslie Johnston

On a recent trip I visited a funky vintage store to see if anything caught
my eye. While I was easily able to keep myself from buying any jewelry or
taxidermy, I came across a number of displays of family photographs available
for sale.
Not only were there bowls of loose photos, there was a dis-bound photo
album from an African-American family that seemed to be from the 1920s
and 1930s, where everyone and every place was identified.
This saddened me and led me to think about my own experiences in trying to
make family photos more preservable.
I have recently undertaken an effort to deal with the archive of photos that
I have in my possession. Some are older family photos from the nineteenth
and early twentieth century. I have my father’s baby book from the
1920s. Some are from my parents, and include slides taken by my father in
Asia in the 1940s-50s. I have my photo albums from my teenage years when
I had my first camera. Most – except the slides – are labeled with names anddates.
When I switched to digital, I put my images on flickr, and tagged them withsome degree of regularity. Dates from file headers, some places, some names.
Then there are my own photo albums from the 1980s through the
2000s. They are chronological, but not labeled. I have discovered that
I have no idea where some were taken, or who they depict. Last year I
digitized a number of photos and slides for a friend who had lost her photocollections. The digitization was easy. The metadata was hard. Keeping themetadata with the files was even harder. I resorted to file naming conventions(event_details_year) where I could, and created a spreadsheet with as much
metadata as I could supply, such as people or places, and more granular dates
such as birthdays or holidays.
So, getting back to those photos in a bowl at a vintage store. There are two
topics to consider:
What will your friends and family do with photographs that have noaccompanying labels, written on the back or in albums? Will they be ofenough value to retain, or will they end up at a garage sale or antique store?
What will your friends and family do with digital image files with nometadata?
So the advice is:Record what you can about photos or digital images as soon as you can.
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Keep the metadata and descriptions with the files and photos. Name thefiles with understandable names, and label the backs of photos with soft leadpencil (not ink). If you have photo albums, write out captions. If you upload
to online services, caption and tag them.
If I can’t remember who is in a photo that I took only a few years ago, it’s
likely that no one else will, either. If no one knows what the photos are, no
one will value them enough to preserve them.

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Perspectives on Personal Digital Archiving

When Data Loss is Personal
Leslie Johnston

On November 12, 2012, my home was broken into and robbed. I lost
jewelry, some vintage tech (my beloved 1993 Mac Duo 230 laptop), and,more importantly, my netbook that I use for all my personal computing.
I have learned a lot of lessons from that experience.
First, I am very glad that I have a password app on my cell phone that has arecord of all my logins and passwords. My laptop was password protectedof course, but not encrypted. Because I love the convenience of saved
passwords in my browser, I had to immediately change all of my login
passwords. Because a file was on my laptop had the ability to connect toonline accounts, I needed to immediately contact financial institutions. I
also called in a Fraud Alert to a credit service with which I already had an
account.
I had the serial number and receipt for my current laptop, but not for myvintage laptop. Record serials numbers and scan receipts and keep themsomewhere that is NOT your laptop.
I back my data up onto a network attached storage device, so I am goodwith that (although I hadn’t done a full backup in 2 months so I lost a few
files). But when I needed to access those files before I replaced my laptop,
I didn’t have a machine in the house that could access it. So, I also needto additionally get myself an external drive that is more easily portablewith a USB connection that I can hook up to any machine, anywhere. Of
course, they could have taken my NAS, too, and I would have been out ofluck. Except for my pre-2008 files which I also have on CD-ROMs because
that’s how I migrated them then.
I do have copies of some things in the cloud, like photos and my recent
email. But not my full email archive, which is on my NAS, and requires anapplication that I cannot install on my temporary machine because it’s notsupported on that OS.
And I could not get my temporary machine to recognize my wirelessprinter. How many documents you need to print is not something you think
about when planning for an emergency.
So…what lessons did I learn?

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•
•

•
•

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Keep an encrypted file of logins and passwords (and accountnumbers) on some other type of device altogether. But also
print out a copy somewhere.
Have two local copies of your files, one of which is easily
portable to another location and other type of hardware in an
emergency and an additional cloud copy is not a bad idea (butit’s a bad idea for that to be your only copy).
Of course retain data that runs only in specific applications,but try to export/create copies that are application neutral.
Scan printed receipts and key documents. Print vital e-only
documents. Keep your print copies and your e-versions someplace secure, and keep the e-versions in more than one place.

Perspectives on Personal Digital Archiving

Personal Digital Archiving Outreach— 57 —

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Hey Libraries and Archives: Personal Digital Archiving Kit
Now Available
Keri A. Myers

Let’s face it: most of us fall short of perfection when it comes to managing
our personal digital materials. We do things like download personal photos
to our computers and promise ourselves that we will come back later andgive them meaningful file names, tags and other important metadata. Since
I began volunteering here at NDIIPP I have increasingly been aware of mypersonal digital archiving habits and the challenges they pose.
A big part of the problem is that there are few sources of advice for people tolearn about personal digital archiving. Local libraries and archives are in theperfect position to fill this gap.
That’s why my colleague Erin Engle and I have been constructing a resource
kit to help local institutions provide links to information about personal
digital archiving. The kit also provides resources to support a local “Personal
Digital Archiving Day” to connect directly with patrons.
The kit is aimed at libraries, archives and other cultural intuitions staff andgives basic guidance on how to organize an event. It includes some tips fororganizing an event, as well as free handouts, videos and web resources that
staff can use. Also provided is a list of additional resources, including someformat-specific advice.
The kit highlights various NDIIPP resources and handouts providing aperfect introduction for informing the general public on important tips andstrategies for preserving their digital files, photos, videos, emails and social
media accounts.
We’re hoping you’ll help spread the word about digital preservation and hosta Personal Digital Archiving Day event during ALA’s Preservation Week
activities.
So grab a download of the kit and get organizing a local event.

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Pass it On: Library of Congress Events for Preservation
Week 2012
Jefferson Bailey“mr Ballard left home bound for Oxford. I had been Sick with the
Collic. mrs Savage went home. mrs foster Came at Evening. it snowd alittle.”So begins the diary of Martha Ballard on January 1, 1785. Martha was a
midwife and prolific diarist who wrote in her diary almost every day forthe next 27 years until her death in 1812. There are nearly 10,000 entries
in the diary; though often brief, they provide a unique, invaluable insight
into the politics, economics, family dynamics and daily life of her era. As
one of the only written accounts of female life in early rural New England,
Martha’s diary offers us a window into a forgotten and seldom-accessible pastand is indicative of the kind of “history from below” that counterbalances
the monolithic, overbearing narratives of the rich and powerful that cansometimes dominate historical discourse.
“The problem is not that the diary is trivial but that it introduces more stories
than can easily be recovered and absorbed… Martha’s diary reaches to themarrow of eighteenth-century life,” wrote Laurel Ulrich in her 1991 Pulitzer
Prize winning book about Martha’s diary, A Midwife’s Tale, parts of which,along with the full diary, are available online.
How, you may ask, did this at-first-glance-unremarkable woman’s diary end
up recognized as an invaluable historical resource that led to a prize-winningwork of history almost 200 years later? The diary was passed down throughgenerations of the Ballard family until it was donated in 1930, 118 years after
Martha’s death, by her great-great-granddaughter to the Maine State Library.
Now ask yourself, if one of your parents handed you his or her diary on a 5
1⁄4” floppy disk from 15 years ago, would you even be able to read it?
We talk a lot on this blog about personal archiving, but stories like Martha
Ballard’s remind us of the importance of preserving and passing on our
personal archives. However, contemporary storage media and even fileformats can be outdated and inaccessible in just a handful of years. Due tothe fragility of digital information, preserving our personal digital materials
requires a level of management that wasn’t previously necessary for paper.
We are excited to announce that, in conjunction with ALA’s Preservation
Week (April 22-28, 2012), we hosted a number of events throughout the
Washington, DC, area to provide in-person guidance and help to thoseinterested in preserving their digital collections.
A full list of our Preservation Week activities, including descriptions of eachprogram, can be found on our website and on the Library’s official press— 59 —

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release.
And for those readers at institutions considering hosting a Personal Digital
Archiving event, consider using our Personal Archiving Day Kit and ouronline resources.

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Librarians Helping Their Communities with Personal
Digital Archiving
Mike Ashenfelder

During Preservation Week 2012, April 22-28, librarians nationwide held
events on saving personal digital possessions. These events are evidence of
how librarians are stepping up and taking on the responsibility of helping
their communities understand digital preservation.
Julie Mosbo, chair of the Preservation Week Working Group and preservation librarian at Southern Illinois University at Carbondale, said, “Libraries
and librarians, as places and keepers of knowledge and information, havea great opportunity to promote digital archiving to the public. I think(librarians) are the perfect group to teach it but I’m not sure the public isaware that librarians/libraries can help them with that kind of service. I
think to many folks we are still seen as ‘book’ people. Our desire to help andeducate are natural opportunities to provide information on preserving digital
items.”
Some of the Preservation Week presentations included:
•

•
•
•
•

Michigan – the Kalamazoo Public Library presented “Digital
Photos 101” and the Ann Arbor District Library presented “Preserving Your Digital Photos with Archivist Lance
Stuchell.”Indiana – the Westchester Public Library presented “Managing Your Digital Photos.”
Maryland – the National Library of Medicine presented“Digital Memories: Preserving Your Personal Digital Photos,
Documents and Videos.”
Virginia – the Big Island Library presented, “Computer Skills:
Digital Photos 101.”
Colorado – staff from the Denver Public Library helped people digitize their personal items as part of the “Creating Your
Community” oral history project.

Note the dominant theme of preserving digital photos. Though all digital
files need to be properly preserved, cell phone cameras have helped raise thedigital-preservation stakes by generating tens of millions of photos daily,
photos that many people may not know how to preserve. Digital photos are
everyone’s top personal archiving concern.
Staff at the University of California San Diego held an afternoon event titled,“Personal Digital Archiving Day Event to Provide Tips on Preserving Your
Stuff.” Like the Denver Public Library’s event, UCSD digitized things for— 61 —

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people as part of their “how to” demonstrations, expert consultations andinformation presentations.
The UCSD event was ambitious partly because it included a lot of hardware
for the demonstrations, which involved schlepping it all around, setting it allup, making sure it worked properly during the demonstration and moving
everything back to the labs afterward. But demonstrations convey a lot of
information (“Show me how to do it”) and make an educational impact. The
UCSD demonstration hardware included scanners and workstations for
digitizing 16mm film, slides and audio (for LP records).
Roger Smith, head of the UCSD Preservation and Digital Library, said
the staff had plenty of in-house digital-preservation expertise among themand didn’t need outside resources, though they would consider showcasing
commercial vendors in future events. “We have folks that work regularlyin those areas so it really wasn’t hard to come up with information,” said
Smith. “Within a couple of planning meetings, everyone had good ideas andit all flowed organically. And we knew the audience we were preparing for, so
we understood not to get too technical. We knew it would be more effective
to stay at an overview level.”
The audience was demographically mixed, old and young, UCSD people andmembers of the community. Smith expressed pleasure that the event sparked
an enthusiastic dialog among UCSD staff in the audience, who sharedexperience and ideas on the various approaches to reformatting and digitalpreservation.
In New York, the New York Public Library presented “Archiving and Storageof Personal Media and Digital Files,” which offered advice on how to preserve
what the presenters called “machine-readable memories.”
One of the presenters, Nick Szydlowski, IMLS preservation administration
fellow at NYPL, said that the combination of material and digitalpresentations worked well and made an impact on the audience. He said
the audience was diverse, both in demographic makeup (“Though it skewed
older,” Szydlowski said) and in technological understanding. There were also
some people from smaller institutions in the area who were interested in the
topic and were considering creating their own archives. They were coming at
it from a more professional and technologically savvy perspective.
Like Smith at UCSD, Szydlowski was careful to not be too technical. “Oneof the big challenges of talking about this to the general public is figuring
out how technical to be,” Szydlowski said. “How much to give technicalinformation and how much to just give recommendations without muchbackground.” He said he would definitely do it again and maybe next time
include more information about the threats to digital files.
Activist Archivists, of which New York University professor Howard Besser
is a founding member, held an event at NYU’s Michelson Theatre. Activist
Archivists are encouraging members of the Occupy movement to record and— 62 —

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archive their activities. As part of their efforts, Activist Archivists distributedigital preservation information to Occupy participants, such as “7 Tips toEnsure Your Video Is Usable in the Long Term” and “Best Practices for Video
Activists.”
The Library of Congress hosted several presentations during Preservation
Week, both on campus and at the Arlington County Public Library and theMartin Luther King Jr. Memorial DC Public Library. A month earlier, I
gave a presentation at the library in Fredericksburg, VA, and in February I
gave a keynote speech titled, “Communicating Personal Digital Archiving to
the General Public” at Personal Digital Archiving 2012.
During Preservation Week, the Library of Congress presentation with thegreatest national reach was Bill LeFurgy’s webinar titled “Preserving Your
Personal Digital Photographs,” which was viewed by over 570 people. Mostof the nationwide events listed on the Preservation Week event finder include
public viewings of LeFurgy’s presentation.
During the year, staff from the Library gave presentations at South bySouthwest, Save Our African American Treasures and the National Book
Festival. This is an opportunity for us to not only share information but
also to listen to people’s questions and get a better understanding of theirinformation needs.
Audience questions often raise issues that we had not considered before andwe respond by publishing information such as “How to Transfer Video from
Tape, DVD or Camera to Your Computer” and ”How to Transfer Photos
from Your Camera to Your Computer.” More and more we try to not makeassumptions about the level of technological expertise and comfort of ouraudience.
If you are considering putting on a personal digital archiving event, please
peruse the Library of Congress personal digital archiving resources. If you
are considering an all-day event, please look over the ALA resources and ourown Personal Archiving Day Kit.

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Preserving Your Personal Digital Photographs: Library ofCongress Presents Online Session
Bill LeFurgy

Do you wonder if cloud storage is a good option for your personal digital
photographs? Do you have questions about metadata and file formats? Are
you uneasy about the prospects of keeping your digital photos available foryourself and your family into the future?
If so, you have lots of company.
On April 26, 2012 over 570 people participated in a web-based presentation
about preserving digital photographs. I had the pleasure of giving the session
on behalf of the American Library Association’s Association for Library
Collections and Technical Services as part of Preservation Week. A recordingof the session and a copy of the slides are available on the ALCTS website.
The presentation discussed how to identify the different places where
personal photographs might lurk, as well as how to decide which images aremost important and ways to organize your collection. I talked about theimportance of making copies and storing the copies in separate places. I also
touched on metadata, file formats and storage media options.
The talk had a dual purpose. The major intent was to give basic tips
about what people can do to preserve their personal digital photocollection. Digital photography has grown phenomenally popular in the justthe last few years, and there is a shortage of practical information about how
to manage personal images. The National Digital Information Infrastructure
and Preservation Program has provided personal digital archiving guidance
for several years, and the presentation drew from information on the programwebsite.
My second goal was to encourage librarians, archivists and other information
professionals to get involved in providing similar advice within theircommunities. I made the point that the need for personal digital archiving
advice is going to keep growing and that librarians are exactly the rightpeople to help meet this need.
I was grateful for – and amazed by – the many dozens of questions submitted
by listeners. I could only address a few of them in the time I had, but it’s
clear that this is a topic that many people need more information about. Thisevidence will help spur us on in our efforts to raise awareness and spread
information.

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Perspectives on Personal Digital Archiving

ALCTS, PLA and Library of Congress Collaborate on
Personal Digital Archiving Campaign
Mike Ashenfelder

The Library of Congress, the ALA Association for Library Collections andTechnical Services and the Public Library Association have joined forces tospread information about personal digital archiving, using public libraries as
information resources for local communities.
Barbara A. Macikas, executive director of the PLA (a division of theAmerican Library Association), said that the shared mission of the Libraryof Congress, the ALCTS and the PLA will help fulfill the mission of the
IMLS-funded Digital Learning Resource project, to develop a collection ofdigital literacy resources that will be accessible to libraries, patrons and othercommunity-based organizations. Bill LeFurgy, digital initiatives program
manager at the Library of Congress, joined the DLR project at the ALA
Midwinter conference 2013.
Charles Wilt, executive director of the ALCTS, invited staff from the Libraryof Congress to present two webinars before and during Preservation Week
2013.
The first webinar, on March 20, is directed at librarians who are considering
hosting a personal digital archiving day event. The webinar explains theissues around personal digital archiving and reviews the resources the Libraryof Congress has made available for the public and for librarians to present totheir communities (such as the Personal Digital Archiving Day kit).
The second webinar, on April 24, is directed at the general public and it will
be a comprehensive overview of the issues that are at stake and what averagepeople can do about preserving their stuff simply and properly.
Both webinars are intended to help audiences understand the nature of
our common digital files – such as digital photos, recordings, video anddocuments – and learn what it takes to preserve them as well as we mightpreserve our physical possessions. Technology changes rapidly and without
proper care of our files, we could lose access to them.
ALCTS, PLA and the Library of Congress share the conviction that the
local public library is a natural resource from which the community can get
information about personal digital archiving. The Library of Congress has
conducted outreach events at public libraries close to Washington, DC, andhas honed its outreach message for clarity and simplicity. At these events,
Library of Congress staff was enthusiastically received by both the librarians
and members of the community. Everyone was grateful for the expert
information and guidance. The audience’s follow-up questions helped shapeand tighten the Library’s subsequent presentations.
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The PLA will offer ongoing information about Library of Congress personalarchiving resources through its electronic newsletter, Facebook site, website
and Public Libraries Online. The mutual, long-term goal of both institutions
is to keep up the steady drumbeat of communication until eventually themessage reaches everyone and good personal digital archiving practices
become second-nature.

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We Talked and Talked About Personal Digital Archiving
Erin Engle

A man wanted to migrate his dissertation from punch cards.
A young girl held a floppy disk for the first time and expressed wonder that it
had anything to do with digital information.
A woman–the family archivist–wanted to pass her digital collection to thenext generation.
These are some of personal stories I heard at the 2011 National Book Festival
on the National Mall in Washington, DC.
For the second year in a row, NDIIPP participated in the festival, providing
personal digital archiving advice to all comers. My colleagues and I had afantastic time at our table in the Library of Congress Pavilion.
We enjoyed talking with hundreds of people who stopped by. We had thechance to hear directly about hopes, dreams and fears about saving personal
digital information. Even more importantly, we spoke with lots of people
who hadn’t given much thought to the issue.
Over the two day festival, we passed out handouts providing high-level
personal digital archiving tips (based on information from our website),answered questions about how to save digital photos and other forms ofdigital information, and talked to people about how technology has changed
over time.
Computer storage media and other technology changes very quickly, a factthat we demonstrated with a display of obsolete equipment. This is aneffective way of reminding people that what they create and save today may
not be accessible just a few years later.
We had an array of older storage and computer technology on display. These
relics from the past really engaged the public walking past ourtable. Someone even described it as a “walk down memory lane.” We had
examples of punch cards, 8-inch and 3.5 inch floppy disks, zip disks, hard
drives, laser discs and even an Apple PowerBook Duo 270c from 1992. Talk
about a relic!
I was pleased to see such a positive response from people who stopped to talkto us, told us their personal stories of the family memory projects they’reworking on or just stopped by to say, “I remember floppy disks, I still havesome lying around.” Our engagement with people at the book festival is oneof highlights of the year!
Thanks to everyone who visited us at this year’s book festival.

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Save Our African American Treasures: Houston and
DallasErin Engle

Recently, I participated in the Save Our African American Treasures
Program at the Houston Public Library. The Treasures Program is a collections and education initiative of the Smithsonian’s National Museum of
African American History and Culture.
For the past few years, NMAAHC’s dedicated team has traveled around thecountry providing one-on-one professional consultation to the public on how
to care for family memorabilia, whether the objects are photographs, clothingor other personal treasures. The program also provides an educational
opportunity for the local community to learn about the new museum (setto open on the National Mall in 2015) and to raise awareness about theimportance of preserving important family heirlooms for future generations.
This is the third time I’ve had the pleasure of joining the program, speaking
about preserving personal digital information. In Houston, my talk gave
an overview of the personal digital archiving guidance we developed here
at the Library. I focused on preserving digital photos (PDF). The audience
asked some really great questions, some of which my colleagues and I havebeen asked at other public events, like the 2011 National Book Festival andPersonal Archiving Day.
Lately we’ve been thinking about how to expand our personal digitalarchiving guidance based on the questions and feedback we receive at these
events. We recently added new resources to our web site How to Scan Your
Personal Collections (PDF) and How Long Will Digital Storage Media Last?
(PDF). We find one of the best ways to connect with individuals has been
through this blog.
Frequently on The Signal we talk about our personal experience saving
our own digital photos, talk about the importance of adding descriptive
information to our photos and even look more in-depth at descriptive
metadata for photos.
In Houston, I was asked many questions about transferring old family movies
on film or VHS tape to the DVD or CD format. The biggest questions: canI do this and where do I start?
My response is always, “It’s great you’re thinking about this because that’s
the first step!” Unless individuals are interested in investing many hours andefforts themselves, I usually tell people to search their favorite web browser fora service that performs “film transfer” or “VHS conversion” that they would
feel comfortable using.
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For those individuals who are interested in learning more about how theseprocesses work and why it’s important, check out Home Movie Day. It hasvery good information about transfer and preservation information for homefilm and movies.
It’s clear that lots of people want guidance on preserving and digitizing homemovies.
Imagine starting something from scratch. A home project, a work project,or maybe you’re even baking a cake, from scratch. Now imagine what the
dedicated staff of the new National Museum of African American History
and Culture are doing – they are building a new museum – literally – fromthe ground up.
The NMAAHC, part of the Smithsonian Institution, is dedicated to
exploring African American culture and history. Even though it’s scheduled
to open on the National Mall in 2015, curators, research historians, project
managers and staff are busy building the collections and creating exhibits.
They are also holding public programs to raise awareness about the newmuseum, and also to educate the public about preserving important, family
items that may be kept in the back of closets or in the bottom of trunks. Save
Our African American Treasures is one of these programs, and the Libraryof Congress (and yours truly) is privileged to be a part of this wonderful
initiative.
On June 18-19, 2011, the Dallas Public Library hosted a weekend-long“Treasures” program, featuring one-on-one consultations with expert
reviewers about caring for personal items. Informal group preservation
presentations also provided tips on saving items from textiles tophotographs. This is the third time we’ve participated in the “Treasures”
program; last year, we were part of the presentations in Topeka, Kansas
and Detroit, Michigan. In Dallas, I gave a talk on Preserving Your Digital
Memories.
Talking to people about saving their digital memories is something I think
about often, and I’m trying to find new ways to connect personal collections
to the larger concept of digital preservation in a meaningful way. We
think about our family memorabilia tucked away in shoeboxes, scrapbooks
or photo albums, and it is important to pass them on down through ourfamilies. Now, as we’re creating more and more memories in digital form,
we need to start thinking about ensuring that our digital content – thememories we’re making today with our digital photo or video cameras – isalso passed down. These memories are just as important as the shoeboxes fullof photos, letters, concert tickets and birthday cards that people brought tothe “Treasures” program. But we don’t have the equivalent storage solution of
a “digital shoebox.”
In Dallas, I talked to a woman with two small children in tow. I asked her if
she took a lot of digital photos and videos of her kids and her face lit up as she— 69 —

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said, “Of course!” She had these memories on her computer, and she’s been
thinking about backing them up on an external hard drive. As we talked andI gave her some information from NDIIPP’s personal archiving guidance, sheseemed to understand that backing up your digital content on a hard drive
isn’t a “digital shoebox.” To make sure that you can access the content in thenext 5 or 10 years, you need to be vigilant and manage the content on thehard drive as well as the drive itself.
The tips we developed are simple, low-level steps to help non-experts workthrough the beginning stages of caring for digital files. But to be honest,
these tips are not low-effort. Going about saving your digital memories is
a project. If you haven’t thought about it yet or are just starting to think
about it, you may be starting from scratch. NDIIPP staff worry about theirown personal collections – and we’re surrounded by it everyday! But justlike the staff at the NMAAHC who started building a national museumfrom scratch, it is possible and you can build a meaningful personal digitalcollection that you can share for years to come.
The “Treasures” program is a fantastic public service, bringing a national
collection initiative to local communities. It’s also a great opportunity for the
Library and NDIIPP to reach out to a wider audience. We’re learning to talkto people in engaging ways about how to keep their personal digital memories
safe.

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Personal Digital Archiving: An Interview with Jordan
Fields of the Kansas City Public Library
Susan Manus

Here in the Library’s digital preservation program, we have become more
and more active in the realm of personal digital archiving, and it’s of greatinterest to us when we hear about other such activities happening in libraries
around the country. For example, the Kansas City Public Library had arecent event focused on personal archiving, which included information
about digital materials.
Jordan Fields, Digital Library Services Manager at the Kansas City Public
Library, will be presenting a talk at this event called “Preserving Digital
Images: Caring for Your Photos in the Digital Age”. Fields is an enthusiastic
advocate, and according to her blog post from last year’s event, it looks likethe advice they offer is much the same as ours. Before the event, I asked her
if she could tell us about their event, and about her experience in the area of
personal digital archiving.
Sue: Tell us a little about your upcoming event.
Jordan: The day-long “Preservation Matters” (2012) event willtake place at The National Archives at Kansas City and will coverpreservation basics for both physical and digital materials. Membersof the public can also bring in an item for one-on-one preservation
advice. My portion of the seminar will cover preserving digital
images.
Sue: What other resources do you point people to?
Jordan: The information should look familiar since I always referpeople back to the Library of Congress information (and we thankyou, Jordan!). In the past I’ve referred people to the book Organize
Your Digital Life for basic information and for more advanced
information I’ve recommended The DAM Book, both of which areavailable for patrons to check out at our library.
Sue: Your event addresses physical as well as digital items. How manyin your audience are interested in digital materials?
Jordan: Although our seminar covers both physical and digitalmaterials, I can only speak to digital preservation and I would
definitely say that interest in the topic is growing. Last year was thefirst year that we had a digital preservation event for our community,and I look forward to seeing how the audience this year is different.
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Perspectives on Personal Digital Archiving

Sue: What feedback have you gotten from your audience?
Jordan: Most audience members are just grateful to know what theyneed to do with their digital images. There’s not a lot of informationout there for the non-professionals. As more and more people realize
how much of what they’ve recorded of their lives exist only in digitalformats, or experience some sort of loss due to not taking action
to preserve their files, they’re starting to seek out advice and arevery appreciative for the expertise that librarians and information
professionals can offer.
Sue: What do people seem most interested in?
Jordan: Many people are surprised at how fragile digital files are andat the amount of work over time it takes to preserve them. It’s much
more of a commitment than they expect.
Sue: What do you feel is the most important point to make about
personal digital archiving?
Jordan: Take the time to do the work to preserve your memories!
Organize what you have now and then set up a system to stay on topof it. You don’t have to preserve everything, but if you don’t preserveanything, then you risk losing so much.

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Perspectives on Personal Digital Archiving

What Do Teenagers Know About Digital
Preservation? Actually, More Than You Think…
Butch Lazorchak

It’s many adults’ worst nightmare: how to entertain and (try to) educate
thirty 8th graders for an hour? Especially when the subject matter is as potentially complex as how to preserve digital information.
Well, the first thing to do is to try and think like the teenagers who visited
the Library on May 13, 2011, from the Imagine Schools South Lake Middle
School in Clermont, Fl., as part of a class trip to Washington, DC.
Lucky for us this wasn’t the first time we’ve engaged with students on thesubject of digital culture and its preservation. Back in the summer of 2009
we hosted a visiting group of high schoolers from Arlington, Va., a visit thatprovided the grist for the “Digital Natives Explore Digital Preservation”
video.
The insightful video (seriously, go watch it soon) explored teens’ knowledgeof digital preservation in general, as well as their ideas of what digital items
should be saved, who’s responsible for saving them and what the challenges
are in saving them.
Since then, the National Digital Information Infrastructure and Preservation
Program at the Library has participated in outreach events at the National
Book Festival and has hosted two Personal Archiving Day events at the
Library, all of which helped us understand what digital preservation issues
were of concern to the general public.
Still, outreach to adults (and near-adults) is a little different than working
with 8th graders, so with input provided by Library Educational Resource
Specialist Cheryl Lederle-Ensign, we crafted a program that concentrated ona subject near and dear to the students’ hearts: digital photos.
A Pew Internet and American Life Project slide set from June 2010 explodes
many of the myths about teen cell phone and social network use, noting thatafter texting (of course) photo-taking and sharing is the most popular featureon teens’ cell phones. Kids aren’t alone here: we’ve noted a significant interest
in digital photography issues at our other outreach events, so we know this is
an area of interest and concern for many.
With that in mind, we tailored our presentation to help the kids understandhow to capture, describe and preserve their own digital photos. We started
off by querying the South Lake kids on their photo-taking and saving
activities, beginning with the devices they use to take their pictures,
then investigating their storage and sharing strategies. Throughout theconversation we shared handy tips they could use at home to help make their
pictures last a good, long time.
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Perspectives on Personal Digital Archiving

There was a roughly even split between students who used digital cameras
and those who used phones to take their pictures, with one student still using
film (!). The split is important, because the primary distribution (and possibly
only long-term storage) strategy for many of the phone users was to upload
their photos to a social networking site such as Facebook.
We explained some of the issues with using a social network site as a primarystorage option (history has shown that those sites don’t stick around forever),and talked about how it’s best to save your photos across a range of devices(thumb drives, CDs, external hard drives, online storage) and geographies(your house in Florida, your friend’s house across town, your grandma’s housein Seattle).
And we were pleasantly surprised by the students’ degree of knowledge on
the issues. Most of them recognized that their digital photos were “at-risk”
in some way (one had filled her camera by shooting 800 photos in one day
and was worried about how to save them when she ran out of space), andmany had perfectly reasonable back-up and replication strategies already inplace. Our presentation “teased-out” more detail on these strategies, and got
both the students and their parental chaperones to think a little harder aboutsaving their photos with something that resembled a long-term strategy.
Through its public outreach NDIIPP is trying to influence behavior
on a number of levels, first and foremost by raising awareness of digitalpreservation issues and spurring people to take personal action to preserve
their own materials in the current absence of comprehensive tools to help
them do so. After all, the personal photographs of the students at South Lake
could become the valuable cultural heritage materials of tomorrow, but only if
the students take care of them first.
We’ll talk more about personal archiving tools and strategies in the future,but in the meantime we take our hats off to the students of South Lake andwelcome other student groups to come visit us!

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Perspectives on Personal Digital Archiving

From Chaos to Order: Diverse Communities Interested in
Personal Digital Archiving Resources
Erin Engle

I’ve written before about the personal digital archiving talks I’ve given andabout some of our events. So it seems fitting I write about a recent talk I gave
at a meeting of the Washington DC Chapter of the National Association ofProfessional Organizers.
Earlier this week, I attended a NAPO membership meeting to talk about
our personal digital archiving guidance related to managing and preserving
digital photographs. I was particularly excited to speak to this group, in part,
because I’m fan of organizing…anything. I also see many commonalities
between this professional community and the librarian and archivist
community.
Professional organizers use principles and expertise learned throughcoursework and experience to enhance the lives of their clients. They
design organizing systems and teach organizing or life skills. Generally
speaking, as information professionals, librarians and archivists are trainedin the organization and management of services or materials. They collect,record and maintain books, files, photographs and other documents for an
institution or organization. In a few short words: professional organizers andinformation professionals turn chaos into order.
Because of the similar nature of the skills required to perform both activities,
this opportunity gave me a chance to think about our guidance in a different
way: how the small-business community could benefit from our personal
digital archiving guidance.
Our guidance is geared toward helping individuals preserve personal digital
information. We’ve also marketed our guidance to librarians and archivists
through an awareness campaign. It strikes me that the small business
community can also use our advice to excellent advantage.
Just as people are creating, sharing and handing down digital memories,
individuals who run their own business have a vested or economic interestin ensuring their digital information is kept safe and preserved for as long asnecessary. Our guidance can provide a starting point for these individuals
who may have not thought about personal digital preservation, and I’mlooking forward to exploring more effective ways to deliver our tips to thiscommunity.

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Perspectives on Personal Digital Archiving

The Challenge of Teaching Personal Archiving
Ellysa Stern Cahoy“What’s in your library?”
I love to ask this question of the college students that I teach, as they are(whether they realize it or not) continually building their own personal
libraries on their laptops, their iPads, even their mobile phones.
As online information proliferates, the physical library is receding inimportance. Personal libraries – collections of articles, photos, documents,
email and other information – are of primary importance now. My job asan academic librarian has been refocused towards helping my users navigate,
mine and build their personal information collections.
While today’s graduate students (or new faculty members) may not want tohear that they are now also their own personal librarian, they are. Whether
you are a student or not, everyone is actively building collections of personal
and/or professional information. Increasingly, the job of librarians is tohelp our users effectively build, search and organize their own personal andscholarly information collections.
In The Long Term Fate of Our Digital Belongings: Toward a Service Modelfor Personal Archives, Cathy Marshall identified the four greatest user
challenges with regard to storing and organizing personal online materials:••••

Accumulation (too many copies of too many things).
Distribution (multiple copies in many places, online and on
storage devices).
Curation (what to save and where to save it).
Long-term access (the ever-lingering challenge of migrating
materials to new formats when old formats expire).

These challenges are significant and impact the lifespan of current knowledge
and historical preservation. If we expect our children and future generations
to preserve knowledge, sustained education on how to archive personal
information collections is essential.
I am working with Pennsylvania public librarians on a grant to develop
digital literacies in public library staff. The goal is for all librarians andlibrary staff to feel at ease with the technology that their patrons use, such as
iPads, digital cameras and laptops.
Public libraries are a magnet for patron questions about technology, andwhile many public library staff are technology whizzes, not everyone feels
comfortable helping patrons download photos from their camera. Our grant
aims to develop that comfort zone with technology, as well as provide foodfor thought on ways to engage people in telling their personal stories through— 76 —

Perspectives on Personal Digital Archiving

technology with photos, video and more.
As I work with public librarians and my own students, I realize that justas central as learning how to use technology is helping people navigate
Marshall’s user challenges for personal archiving. Here’s how can we help
people:
•
•
•
•
•
•

Understand how to better manage their personal collections.
Manage the accumulation of photos and documents (andduplicate copies).
Manage the distribution of that collection.
Decide what to keep and what to purge.
Move materials to new formats when needed.
Above all, perhaps, is the importance of printing out and making physical materials, whether for professional or sentimental
reasons.

Indeed, we are now all our own librarians. While it is an exciting time, theinformation cloud leveled so that we all can build our own collections, it isalso a weighty challenge and one that I look forward to helping my students
and others confront and tackle.

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Perspectives on Personal Digital Archiving

About the Authors
Mike Ashenfelder
Digital Media Project Coordinator, NDIIPP, Library of Congress
Jefferson Bailey
Strategic Initiatives Manager at Metropolitan New York Library Council,
former Fellow with NDIIPP
Ellysa Stern Cahoy
Education & Behavioral Sciences Librarian Instruction Coordinator, Penn
State University Libraries
Erin Engle
Digital Archivist, NDIIPP, Library of Congress
Leslie Johnston
Acting Director of NDIIPP, Library of Congress
Sarah Kim
School of Information, University of Texas at Austin.
Butch Lazorchak
Digital Archivist, NDIIPP, Library of Congress
Bill LeFurgy
Digital Initiatives Manager, NDIIPP, Library of Congress
Susan Manus
Digital Media Project Coordinator, NDIIPP, Library of Congress
Keri A. Myers
Former volunteer archivist, NDIIPP, Library of Congress
Tess Webre
Intern, NDIIPP, Library of Congress
Barry Wheeler
Digital Media Project Coordinator, OSI, Library of Congress— 78 —