Stephen Schafer specializes in photography of architecture & historic structures. Employing 20 years of experience, coupled with the unique equipment requisite to create photographs of "really big things" in often difficult locations and from unique vantage points. Ready to complete photographic records for local, state, and federal programs, requiring 8x10, 5x7, 4x5 or digital formats for any project from billboard size prints to strict Library of Congress specifications. An architectural photographer with an understanding of historic structures, based in California and serving the Western United States.

2. HABS / HAER / HALS

See link: Schafphoto HABS / HAER / HALS PAGE for this complete topic.

The Historic American Buildings Survey (HABS), the Historic American Engineering Record (HAER), and the Historic American Landscapes Survey (HALS) are the national historical architectural, engineering and landscape documentation programs of the National Park Service. The Documentations from these programs are stored in the Library of Congress in Washington DC.

HABS/HAER/HALS documentation usually consists of measured drawings, large-format photographs and written data that highlight the significance of a resource. There are three levels of recordation that generally break down into:

(1) Level One - Measured line drawings (architectural plans), historic drawings, detailed large-format photographs, copies of historic photos, full written data package.

(2) Level Two - Numerous detailed large-format photographs, full written data package.

(3) Level Three - General large-format photographs, with a written data package.

See link: Schafphoto HABS / HAER / HALS PAGE for more on this topic.

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3.

National Park Service/IRS TAX CREDIT PHOTOGRAPHY STANDARDS

PART II Tax Credit application.

Excerpts from National Park Service website, general information on Part 2 photographic requirements:

Photographs: The applicant must submit a sufficient number of good, clear photographs with Part 2 to document both interior and exterior conditions, including site and environment, prior to any rehabilitation work and to show the areas of proposed or completed work. Photographs of "before" conditions must be submitted even if the rehabilitation is completed; such documentation is necessary for the NPS to evaluate the effect of the rehabilitation on the historic structure. Where such documentation is not provided, review and evaluation cannot be completed, resulting in denial of the requested certification. Elevations and interior features and spaces of the buildings should be shown. Photographs should be numbered, dated and labeled with the property name, the view (e.g. east side) and a brief description of what is shown; photographs should be keyed to the application narrative, where appropriate. In many cases, it may be helpful to mark directly on the photographs the areas of proposed or completed work. Photographs may be black and white or color, but must show architectural features clearly. For clear documentation, 35 mm photographs are recommended. Photographs are not returnable. Check with the SHPO about whether or not a duplicate set of photographs is required for state files. (HABSPHOTO note: Two sets are needed in California: one for SHPO, and one that SHPO will forward to NPS (and in many cases one for the client and/or consultant 's files.)

o In California, photographic documentation submitted with applications should be in the form of conventional 35mm color photographs. (35mm film camera, color negative film, glossy 4x6 prints)

o Photographs must be labeled on the back with the following information: address and building name (if applicable), view (e.g. north side), and description (e.g., plaster damage in dining room, north wall).

o Photographs must be numbered and keyed to the description of proposed work on the Part 2 form and keyed to a plan(s) of the building.

o Applicants must use their own judgment as to how many photographs adequately “tell the story” of their building. Larger projects require more photographs to provide detail shots or to illustrate the various elements and areas of a large building or complex.

o Despite the popularity and increasing sophistication of digital photography, NPS has found that digital photographs generally do not provide the level of detail or clarity required for review.

o Photocopied photographs and instant photographs are not adequate for review. If an applicant cannot supply better photographs, the SHPO and the NPS may not be able to evaluate an application, and the application may be denied certification of rehabilitation.

1. Several photographs of the site and setting of the historic structure(s). This should include photographs taken both up close, showing the individual property site, and from a distance, showing the street setting of the structure(s).

2. At least one photograph of all existing elevations showing the entire elevation. This includes all structures affected by the proposed rehabilitation, such as carriage houses and outbuildings. Elevations that are partially blocked by adjacent structures or trees may require photographs to be taken from several different angles or locations to completely document these elevations.

3. Detailed close-up photographs are needed of specific architectural features affected by the rehabilitation, such as windows, doors, balustrades, trim, etc. Submitting several representative photographs of multiple features, such as windows, is acceptable providing the photographs submitted adequately represent the condition throughout the structure.

4. Photographs of all interior spaces should be taken with a wide-angle lens from diagonally opposite corners of the room. This includes all interior spaces affected by the rehabilitation. If like spaces or rooms exist, such as floor after floor of warehouse space, then submitting several representative photographs documenting the condition throughout the structure is acceptable.

The above information is not comprehensive, but it does provide an overview of what is expected by for the Part 2 Photographic Documentation. It is important to be aware of is that the Part 2 Photographic Documentation will be the primary record of the project as the tax credit project proceeds. The State Preservation Architect at OHP may or may not visit the site, but the NPS reviewer is located in Washington D.C. and very seldom visits a distant project sites, therefore, the photographs will be the common visual reference when questions arise concerning the buildings condition during rehabilitation work. As Tim Brandt at the California OHP told me, "I get on the phone with Washington and we spread the photos out on a table and go over them together."

The information below is not intended to be prescriptive so professional judgment will be needed to assure that the objectives of the Part 2 documentation described in the NPS excerpts are met. The photographer will also need to use good judgment in determining the number of photographs needed to fully document the site. Since all photos will not be used, photographs should first be provided to the consulting team on proof sheets (or single set of 4x6 Prints) from which a sufficient number can be chosen to best document the project. (HABSPHOTO note: if there will only be a small number of prints culled from the complete recordation of a building, the photographer may want to have all prints printed at the time of developing to save money; then discard the few prints that will not be sent, as original first-run prints are always less expensive than reprints. In case of reprints, have the negatives rolled, not cut into sections of 4 frames.)

4.

CITY OF LOS ANGELES – MILLS ACT PHOTOGRAPHY GUIDELINES

Download the 2009 Mills Act Application here: http://www.preservation.lacity.org/mills-act

Photography/Property Visual Documentation

Prints and Views:

Black and white photographic prints of the entire property; include both exterior and interior spaces and features. The set of images shall include at least two full-room views of each room (generally one image taken from opposing corners is sufficient) and as many views of architectural details necessary to document the character defining features of the structure(s) and site. Include images of any original hardscape or landscape features and the existing conditions of all yards/open space that are part of the property. Images may be digitally obtained and printed onto archival paper in 3 x 5, 4 x 6 or multiple image letter sized sheet format. There shall be one 8 x 10 printed image of the overall structure/property (view that best captures the property – e.g. front facade). 3 x 5 or 4 x 6 prints shall be loose/bound with a rubber band, do not use plastic sleeves or photo guards.

Labeling:

Photographic images may be printed onto letter sized paper (maximum of four images per page – single sided) with each image labeled according to view and content. Each page shall also identify the property address, date of photographic images and photographer. Individual photographic prints shall have mailing sized labels affixed to the back side, upper left-hand corner of each print. The labels shall contain the identification of the room or subject, property address, date of image and photographer. All labels shall be printed. Traditional photographic prints shall be accompanied by a set of 35mm negatives. Digital images shall be submitted on a compact disc, in addition to the printed images. Disc images may be in color – all printed images shall be in black and white.

Download the 2009 Mills Act Application here: http://www.preservation.lacity.org/mills-act

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5.

SURVEYLA General Guidelines for Photographing Individual Resources and Historic Districts

● STAY in the public right-of-way. No trespassing onto private property.

● Position the camera to avoid trash containers, litter, people, animals, car mirrors, car windows and reflections, surveyor’s hats, arms, hands, fingers, etc.

● Take one photograph of every resource recorded, even if the resource is not visible behind walls, landscaping, etc.

● Try to fit any related features (i.e. garages, landscape features) in the frame with the primary resources. Take additional photos only when absolutely necessary.

● Try to keep the resource front-lit. Keep the sun over your shoulder whenever possible, and plan your survey route accordingly.

● When photographing buildings, remember the acronym FRoWSE, which stands for Foundation, Roof, Windows, Siding, and Entrance. Try to capture as many of these elements within the frame as possible.

● Take photographs of resources from an angle (oblique - two sides). This way, you capture valuable information about the size and depth of the resource.

● Let the resource fill as much of the frame as possible while still giving the resource context fill the frame 80% with the resource.

● When recording historic districts, in addition to photographing all contributors take context views to include representative streetscapes which show the relationship of the buildings to each other, setbacks, building heights, landscape and hardscape features, etc. To facilitate efficiency in the field, SurveyLA methodology calls for context views and photos of non-contributing buildings to be taken by volunteers.

● While you may need to provide some written information about the photo (i.e. if only part of a building is visible from the public right-of-way you may need to explain the view) do not spend excessive time writing photo descriptions.

1. Photos will be taken both by professional field surveyors (i.e. historians and architectural historians) as well as volunteers/interns.

2. We hope to have minimal time spent on photography. There are 880,000 parcels in LA so surveys will need to proceed quickly.

3. One of the purposes in using WiFI is to avoid taking time to name photos in the field (automatically tied to the parcel)

4. I think we are generally looking at one photo per resource so we need to give instructions to get the best photos in the least amount of time.

5. I like your suggestions for giving recommendation on how to proceed methodically in a historic district.

6. Architectural historians rarely think about lighting considerations (time of days, sun, shade)

Note: The CRA suggests that surveyors NOT make obvious the fact that they have expensive equipment. Sometimes it may be wise to downplay your dress, however on busy streets surveyors should always be in teams and may wish to wear NEON safety vests. Early morning may be the best time to survey residential neighborhoods, because people are still asleep. Sometimes it is faster to photograph single houses in neighborhoods from across the street, and then walk back and do the data-input part of the survey on the tablet.

Camera:

Digital, 4+ Megapixels. (Best if lens is wide-angle 24 to 28mm) (extra battery)

Digital camera menu settings:

4 to 5 Megapixel resolution setting. ( If your camera shows size in pixels, set it between 2100 and 2700 pixels in the long dimension.)

Jpeg compression setting: High (fine) (large) Quality setting for jpegs.

Most teams are using cameas that record to SD cards.

Transfer from camera to PC via card reader. (USB external, plug-in type card reader or built-in SD reader in some tablets.)

(2 memory cards recommended)

The target photo resolution and compression is a high-quality Jpeg with little compression that has about 2000 pixels resolution along the long edge. ( aprox 2000 x 1300 pixels horizontal or 1300 x 2000 pixels vertical.)

The jpeg would ideally be 1 Megabyte saved (compressed), and would decompress to a file of 7 to 8 Megabyte

s when opened in Photoshop.

Stephen Schafer was honored to create the photographic guidelines for SurveyLA, the online tutorial is here on our website.

For More Information on SurveyLA see the Los Angeles Office of Historic Preservation Website: http://preservation.lacity.org/node/447

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6.

STANDARDS FOR DOCUMENTING RESOURCES IN THE CITY OF LONG BEACH, CALIFORNIA

Excerpt from CITY OF LONG BEACH (Historic Documentary) PHOTOGRAPHIC REQUIREMENTS (2007)

For additional and updated information contact the

City of Long Beach, Office of Historic Preservation at 562-570-6864.

1. Types of photographs to include:

a. Present day views

b. Photographic copies of historic photographs, drawings, paintings, etc.

c. Photographic copies of original drawings (architectural/engineering plans construct the building or structure).

2. Type of film to use:

a. Black and white, fine grain (under 400 ASA). Digital format is acceptable.

Photographs and Photo Index must also burned onto a CD.

3. Type of Camera:

a. Large format, if required pursuant to specific mitigation measure or other

agreement or condition of approval.

b. 35 mm format acceptable for most other recordation requests. Camera with lens that

does not significantly distort perspective should be utilized. Quality digital cameras are

acceptable. (this should read digital SLR cameras over 10MPx)

4. Filters:

e. Use of filters that reduce glare and sharpen contrast are encouraged.

5. Photographic prints:

a. Prints should be at least 4x6 inches, preferably 5x7 or 8x10, depending on the

anticipated use of the prints and the budget available for the documentation project.

b. Prints should be made with double or medium weight paper having a glossy or satin finish.

c. Prints should be thoroughly washed to eliminate residual chemicals.

6. Photographic coverage:

Photographs should be taken of the overall property and the exterior and interior (if historically

important) of each building on the property, including old and new outbuildings. The number of

interior and detail views will depend on the significance of those aspects of the building(s). The

following photographs should be taken to document the property:

a. Setting

b. Exterior Views

c. Interior Views

d. Other views of dependent structures are intended to provide information on associated

structures and their relationship to the property overall.

e. Photographic Copies of Photographs, Drawings, and other Graphics

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7.

THE ILLINOIS HISTORIC PRESERVATION AGENCY'S STANDARDS AND GUIDELINES

FOR

HISTORICAL, ARCHITECTURAL AND ENGINEERING DOCUMENTATION:

IL HABS/HAER STANDARDS Effective Date: 21 January 1999

Illinois Historic American Buildings Survey/ Historic American Engineering Record Preservation Services Division Illinois Historic Preservation Agency Springfield, Illinois 62701

January 1999

Illinois Historic Preservation Agency

(IL HABS/HAER) Program of documentation of historic buildings, sites, structures, and objects located in the State of Illinois.

IL HABS/HAER Documentation includes measured drawings, large-format photographs, and written contextual histories and descriptions. The Illinois State Historical Library Archives is the repository for these documents.

PREFACE

This document outlines the Illinois Historic Preservation Agency's Preservation Services Division's Standards for Historical, Architectural and Engineering Documentation --commonly known as the IL HABS/HAER Standards.

These performance standards define the criteria for IL HABS/HAER projects acceptable for accession in the IL HABS/HAER Collection located at the Illinois State Historical Library Archives.

Acceptable IL HABS/HAER documentation often includes:

Measured Drawings

Large-Format Photographs

Detailed Historical Context Development and Physical

Descriptions in a Prescribed Written Outline Format

These standards are intended to be used in conjunction with the accompanying guidelines for historical, architectural and engineering documentation. Other publications listed in the bibliography should be consulted.

These standards will be used:

In preparation of documentation to fulfill mitigative requirements in accordance with the Illinois State Agency Historic Resources Preservation Act and Section 106 of the National Historic Preservation Act of 1966, as amended. In preparation of voluntary documentation to be submitted for inclusion in IL HABS/HAER Collection.

(1999) ILLINOIS HISTORIC AMERICAN BUILDINGS SURVEY/HISTORIC AMERICAN

ENGINEERING RECORD (IL HABS/HAER) PROGRAM STANDARDS

for

HISTORICAL, ARCHITECTURAL AND ENGINEERING DOCUMENTATION

The IL HABS/HAER Standards address the development of documentation for historic buildings, sites, structures, and objects. IL HABS/HAER documentation provides relevant graphic and written information on a property's significance for use by scholars, researchers, preservationists, architects, engineers, and others interested in preserving and understanding historic properties. IL HABS/HAER documentation is important for several reasons. It provides for accurate repair or reconstruction of part

s of a property, records existing conditions for easements and preserves information about a property that is to be demolished or altered.

The IL HABS/HAER Standards are intended for use in developing documentation to be included in the IL HABS/HAER Collection located at the Illinois State Historical Library Archives. The Illinois Historic Preservation Agency has defined specific requirements for meeting these standards.

STANDARD 1: Documentation Shall Adequately Explicate and Illustrate What is Significant or Valuable About the Historic Building, Site, Structure, or Object.

The historic significance of the building, site, structure, or object identified in the evaluation process should be conveyed by the drawings, photographs, and written materials that comprise the documentation. The historical, architectural, engineering, or cultural values of the subject property, in conjunction with the purpose of the documentation, will determine the level and methods of documentation.

STANDARD 2: Documentation Shall be Prepared Accuratelv from Reliable Sources with Limitations Clearly Stated to Permit Independent Verification of the Information.

The purpose of documentation is to preserve an accurate record of historic properties that can be used in research and other preservation activities. To serve these purposes, the documentation must include information that permits assessment of its reliability.

STANDARD 3: Documentation Shall be Prepared on and Submitted in Materials that are Readily Reproducible, Durable, and in Standard Sizes.

The size and quality of documentation materials are important factors in the preservation of information for future use. Selection of materials is based on the length of time expected for storage, the anticipated frequency of use, and a size convenient for storage and document management.

STANDARD 4: Documentation will be Clearly and Concisely Produced.

In order for documentation to be useful for future research, written materials must be fully developed, legible and understandable. Graphic materials must contain scale information and location references.

(1999) ILLINOIS HISTORIC AMERICAN BUILDINGS SURVEY/HISTORIC AMERICAN

ENGINEERING RECORD (IL HABS/HAER) GUIDELINES

for

HISTORICAL, ARCHITECTURAL AND ENGINEERING DOCUMENTATION

Introduction

The IL HABS/HAER Guidelines link the IL HABS/HAER Standards for Historical, Architectural and Engineering Documentation with more specific guidance and technical information. They describe the general approach for meeting the Standards for Historical, Architectural and Engineering Documentation. Agencies, organizations, and individuals proposing to undertake the production of IL HABS/HAER Documentation in a different manner will need to review and gain approval of their strategy with the IHPA IL HABS/HAER Coordinator prior to the execution of a contract for or the initiation of production of IL HABS/HAER Documentation.

The Guidelines are organized as follows:

Definitions

Goal of Documentation

The IL HABS/HAER Collections

Standard 1: Content

Standard 2: Quality

Standard 3: Materials

Standard 4: Presentation

Goal of Documentation

The IL HABS/IL HAER Program is the historical, architectural and engineering documentation program of the Illinois Historic Preservation Agency that promotes the incorporation of accurate graphic and written documentation into the IL HABS/HAER Collection located in the Illinois State Historical Library Archives. The goal of the IL HABS/HAER Collection is to provide historians, architects, engineers, scholars, and interested members of the public with comprehensive documentation of buildings, sites, structures, and objects significant in Illinois' history.

IL HABS/HAER Documentation often consists of measured drawings, photographs, and written data that provide a detailed record of a property's significance. Measured drawings and properly executed photographs act as a form of insurance against fires and natural disasters by permitting the repair and, if necessary, reconstruction of historic structures damaged by such disasters. IL HABS/HAER Documentation is sometimes used to provide the basis for enforcing preservation easements. In addition, IL HABS/HAER Documentation is often the last means of preservation when a historic property is to be demolished or permanently altered. IL HABS/HAER Documentation provides future researchers access to valuable information that would otherwise be lost.

IL HABS/HAER Documentation is developed as a result of two separate catalysts. First, the Illinois Historic Preservation Agency, pursuant to the Illinois State Agency Historic Resources Preservation Act (20 ILCS 3420/1 et seg] and Section 106 of the National Historic Preservation Act of 1966, as amended, requires recordation of historic properties to be demolished or substantially altered as a result of adverse undertakings conducted on those properties (referred to as mitigation projects). Secondly, individuals and organizations, on their own initiative, can prepare documentation according to IL HABS/HAER Standards and donate that documentation to the IL HABS/HAER Collection. Required Documentation Levels will vary.

IL HABS/HAER Standards describe the fundamental principles of the development of IL HABS/HAER Documentation. The IL HABS/HAER Guidelines listed under each of the following IL HABS/HAER Standards provides basic information about developing documentation for the IL HABS/HAER Collection. The IL HABS/HAER Guidelines are augmented by more specific graphic and written documentation requirements which are included here as supplemental information. Additional specific information concerning the production of IL HABS/HAER Documentation is included in a separate document entitled IL HABS/HAER Program/Technical Commentary.

Documentation prepared for the purpose of inclusion in the IL HABS/HAER Collection must meet the requirements listed below. The IHPA IL HABS/HAER Coordinator retains the right to refuse documentation for inclusion in the IL HABS/HAER Collection when that documentation does not meet IL HABS/HAER requirements specified in this document.

Standard 1: Content

IL HABS/HAER Documentation shall adequately explicate and illustrate what is significant or valuable about the historic building, site, structure, or object being documented.

Guidelines

Documentation shall meet one of the following documentation levels

Documentation Level I

(a) Drawings: a full set of measured drawings depicting existing or historic conditions.

(b) Photographs: large-format (4x5") negatives and 5x7" prints of exterior and interior views and photocopies with large format (4x5") negatives of select existing drawings, site plans or historic views

Documentation Level II

(a) Drawings: original drawings photographically reproduced on archivally stable IL HABS/HAER mylar.

(b) Photographs: large-format (4x5") negatives and 5x7" prints of exterior and interior views & historic views

Documentation Level III

(a) Drawings:sketched floor plan

(b) Photographs: large-format (4x5") negatives and 5x7" prints of exterior and interior views

The IL HABS/HAER Program retains the right to refuse any documentation of buildings, sites, structures or objects lacking historical significance. Buildings, site, structures, or objects must be listed on or eligible for listing on the National Register of Historic Places to be considered for inclusion in the IL HABS/HAER Collection.

The type and amount of documentation should be appropriate to the nature and significance of the properties being documented.

Similarly, the aspect of the property that is being documented should reflect the nature and significance of the property.

Standard 2: Quality

IL HABS/HAER Documentation shall be prepared accurately from reliable sources with limitations clearly stated to permit independent verification of information.

Guidelines

For all levels of documentation, the following quality requirements shall be met:

1. Measured Drawings

Measured drawing shall be produced from recorded, accurate measurements. Portions of buildings or structures that are not accessible for measurement should not be drawn on the measured drawing but clearly labeled as not accessible or drawn from available construction drawings or other sources, and so identified. No part of the measured drawings shall be produced from hypothesis or nonmeasurement related activities.

Documentation Level I measured drawings shall be accompanied by a set of field notebooks in which measurements were first recorded. Other drawings prepared for Documentation Levels II and III, shall include a statement describing where the original drawings are located.

2. Large-Format Photographs

Large-format photographs shall clearly depict the appearance of the property and areas of significance of the recorded building, structure, site, or object. Each view shall be perspective-corrected and fully captioned.

3. Written Contextual History(ies) and Physical Descriptions

Written contextual history and physical descriptions for documentation Levels I and II shall be based on primary sources to the greatest extent possible. For Level III, secondary sources may provide adequate information; if not, primary research will be necessary. An assessment of the reliability and limitations of sources shall be included. Within the written contextual history, statements shall be footnoted or endnoted as to their sources, where appropriate. The written data shall include a methodology section specifying research strategy, names of research staff, dates of research, sources searched, limitations of the project and a project information statement.

The reliability of the IL HABS/HAER Collection is dependent upon high quality documentation. Quality is not easily prescribed or quantified, but it derives from a process in which thoroughness and accuracy play a large part. The principle of independent verification of IL HABS/HAER documentation is critical to the IL HABS/HAER Collection.

Standard 3:Materials

IL HABS/HAER documentation shall be prepared on materials that are readily reproducible for ease of access, durable for long storage, and in standard sizes for ease of handling .:

Guidelines

For all levels of documentation, the following material requirements shall be met.

1. Measured Drawings Ink on translucent, archivally stable materials in standard size of 24x36".

2. Large-Format Photographs

Black and white film only, printed on archival paper, mounted on properly labeled archival board; 4x5" negatives will accompany prints; print size will be 5x7".

3. Written History(ies) and Physical Description

Text contained within the IL HABS/HAER Written Outline Format; submitted on 8.5xll" archival bond paper.

4. Field Records

Field notebooks and field photography; photo identification sheet will accompany 35mm negatives and contact sheet; no archival requirements; submitted field records must fit into 9.5x12" folding file.

5. 95% Submittals

95% review documentation can be submitted on non-archival materials.

6. 100% Submittals

All 100% IL HABS/HAER documentation accepted by the IL HABS/HAER Program Coordinator must be submitted in the standard, archival formats.

All IL HABS/HAER Documentation is intended for reproduction. Although field records are not intended for quality reproduction, it is specified that they be used to supplement the formal documentation. Field records are not required to meet the archival standard, but are maintained as a courtesy to the collection user. The basic durability standard for IL HABS/HAER Documentation is 500 years.

Standard 4: Presentation IL HABS/HAER documentation shall be clearly and concisely produced.

Guidelines

For all levels of documentation, the following requirements for presentation will be met.

1. Measured Drawings

Level I measured drawings will be lettered mechanically

(i.e. Leroy or similar) or in a hand-printed equivalent

style. Adequate dimensions shall be included on all sheets. Levels I and II title sheet(s) shall include state, local, and site maps; property significance statement; project information statement; and drawings index listing. Level III sketch plans shall be neat and orderly.

2. Large-Format Photographs

5x7", black and white, fiber paper prints will be mounted on archival card stock, and labeled in the appropriate manner.

3. Written History(ies) and physical Description

Data shall be typewritten on 8.5x11" archival, bond paper using the required IL HABS/HAER outline format and follow accepted rules of grammar and notation.

Definitions

The following definitions are used in conjunction with these guidelines:

Documentation --Measured drawings, photographs, contextual histories, physical descriptions, inventory cards, or other media that provide graphic and written information on historic buildings, sites, structures, or objects.

Field Photoaraohv photography other than large-format negatives, intended for the purpose of producing documentation, usually 35mm.

Field Records notes of measurements taken, field photographs, and other recorded information intended for the purpose of producing documentation.

Laroe-Format Photooraphs photographs made from 4xS" negatives. Appropriate techniques are to be implemented to correct perspective distortion.

Measured Drawings --drawings produced on IL HABS/HAER acceptable materials depicting historic or existing conditions and other relevant features of the subject. Measured drawings are produced in ink on archivally stable mylar.

Photocopy -a photograph, with large-format negative, of a photograph or drawing.

Select Existing Drawinos -drawings of original construction or later alterations that portray or depict the subject's historic value or significance.

Sketch Plan -a floor plan, generally not to exact scale although often drawn from measurements, where the features are shown in proper relation and proportion to each other.

Effective Date: 21 January 1999

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8.

Colorado Historical Society HISTORIC RESOURCE DOCUMENTATION

Standards for Level I, II, and III Documentation

Office of Archaeology and Historic Preservation

Colorado Historical Society

January 2007

The need for archivally stable documentation methods which could be produced quicker and at lower cost then full HABS/HAER documentation led to the establishment of three levels of historic site documentation. The Bureau of Land Management (BLM) first articulated these levels and they are often referred to as BLM Level I, II, and III documentation. OAHP standards for documentation are very similar to those of the BLM.

Those planning any cultural resource documentation project should discuss the appropriate level of documentation with OAHP. Although standards exist for each level, wide variations in cultural resources and existing associated documents warrants tailoring of the documentation process on a case by case basis.

Levels of OAHP Site Documentation

Level I Most basic form of site documentation, similar to completion of OAHP cultural resource inventory forms with associated maps and survey report. However, all these materials must be in an archivally stable format.

Level II Intermediate level of site documentation, to include full descriptive and historical narrative (including relevant contexts), measured drawings, and medium format black and white photography, all in archivally stable format. Office of Archeology and Historic Preservation Colorado Historical Society Publication # 1595 2 • • •

Level III Site documentation done to HABS/HAER standards, but documentation is reviewed by OAHP rather than the National Park Service and the final products are archived at OAHP rather than the Library of Congress.

Level I documentation is the preferred form of basic property documentation, as it combines simplicity and economy of materials with archival-quality storage requirements. When survey work is anticipated to involve a group of resources with a high likelihood of significance (for example, in a potential National Register Historic District), every effort should be made to record at the Level I standard.

Level II documentation is a good way to create archival records for previously identified properties of significance, when effects to a site must be mitigated due to impending loss, or when a site should be recorded because of progressing deterioration.

Level III documentation is reserved for particularly significant resources. These are either architecturally important buildings or structures representing significant engineering accomplishments. The determination as to whether a historic property should have Level III (or HABS/HAER) documentation is based on consultation not just with OAHP but with the National Park Service.

Whatever the level of documentation, it is important that one copy of the final documentation be publicly accessible at a location near the historic resource. A local library, historical society, museum, or a county or municipal office may be appropriate. In addition, one copy of the documentation is publicly available in the archives of OAHP.

Checklist, Level I

Architectural Description:

􀂉 Description of style, size, and type of building - exterior elevations, top to bottom - significant architectural features. Reasons why property is architecturally significant (if any).

Historic Narrative:

􀂉 Significant events and/or persons associated with the property. Building and site history, date of construction and dates of major changes. Reasons why the property is historically significant (if any).

Photographs:

􀂉 Camera using 35mm film or digital prints. Black and white photographs or digital prints.

􀂉 Photos of the exterior and of significant architectural details.

􀂉 No color machine or C-41 film processing.

􀂉 Photos printed on fiber-paper or archival resin paper. Preferred size: 4” x 6”. Also acceptable: 3” x 5”, 8” x 11”.

Drawings:

􀂉 Drawn on archivally-stable paper, such as vellum, Mylar, or archival bond paper. Can be hand-drawn or computer-drawn. Include building shape and site plan, at a minimum.

Checklist, Level II

Architectural Description:

􀂉 Summary paragraph.

􀂉 Description of exterior elevations, top to bottom.

􀂉 Discussion of building changes and alterations over time.

􀂉 Description of significant interiors.

􀂉 Description of significant architectural features.

􀂉 Reasons why property is architecturally significant.

Historic Narrative:

􀂉 Summary paragraph.

􀂉 Significant events and/or persons associated with the property.

􀂉 Reasons why the property is historically significant.

􀂉 Footnotes and credits where needed.

Photographs:

􀂉 Camera using 120-size film, 35mm film, or high-quality digital technology.

􀂉 Black and white photographs or digital prints.

􀂉 Photos of the exterior (all sides), significant interior spaces, and significant details.

􀂉 No color machine or C-41 film processing.

􀂉 Photos printed on fiber-paper or archival resin paper.

􀂉 Preferred size: 4” x 6”. Also acceptable: 3” x 5”, 8” x 11”.

􀂉 Film negatives

􀂉 Contact sheet for negatives.

Drawings:

􀂉 Drawn on vellum or Mylar. Can be hand-drawn or computer-drawn, using archival ink or pencil.

􀂉 Scaled drawings based on field measurements. Include floor plans, site plan, and elevations.

􀂉 Level II requires basic measurements only, such as the size of window and door openings, rooms, etc.

Checklist, Level III

Submitted to HABS/HAER/HALS through National Park Service, NPS Standards Apply.

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9. Vermont Division for Historic Preservation Photographic Documentation Requirements for Historic Structures

The Documentation Package

One complete Documentation Package should be provided to the Division. Additional copies should be deposited in an archival storage facility that can maintain the photographic prints and negatives (if applicable) in archival conditions. A facility located near the documented resource is generally preferred, and may be a library, historical society, school or other organization as appropriate, to ensure that the information is publicly available now and into the future. A complete photographic documentation package must contain the following material:

1. Cover Page: stating the project name, location, date, project sponsor and historian;

2. Project summary: one to three paragraphs describing the history of the project and the process by which demolition of the building was determined to be appropriate;

3. Architectural description: one to three paragraphs describing the architectural features, design and construction of the resource;

4. Statement of significance: one to three paragraphs describing the historic significance of the resource within a local, state and/or national context;

5. Location map: a copy of the appropriate Town Highway map or USGS topographic map, with the location of the property clearly indicated;

6. Sketch map: a site plan of the property, showing all structures and significant landscape features (keyed by number to photographs of the buildings and the Photograph Index);

7. Photograph Index: a numbered index to the sketch map and photographs;

8. Documentary photographs: see below for details on types of images, processing and labeling; and

9. Information on the location of original historic photographs or documents and resources for further information about the building (if applicable).

Photographs

Types of Images

Present day views of the structure or site;

Photographic copies or scanned digital images of historic photographs, drawings, and paintings (if available); and

Photographic copies or scanned digital images of original drawings and architectural or engineering plans used to construct the building or structure (if available).

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10.

Photographic Documentation for Virginia Department of Historic Resources (DHR) Basic Survey

Important Note: If submitting photographic documentation to accompany a National Register of Historic Places nomination, please refer to “Photographic Documentation for National Park Service (NPS) Register Nominations” (page 3 below).

There are two options for submitting photographs for DHR architectural surveys: traditional 35mm black-and-white or digital images. The following are requirements of all photographs submitted to DHR. Below these general guidelines are the technical requirements for each type of image.

Photographs must be either 3 • x 5 (preferred) or 4 x 6 inches, unmounted, and printed in black and white on archival-quality photograph paper. Photographs should be labeled on the reverse side, using soft-lead pencil or china marker. Pens, felt-tip markers, and adhesive labels are not accepted. On the back lower left corner of each photograph, provide the following information:

Example of accurately labeled photograph (reverse side):

Photographs must be submitted in transparent, Print File brand photograph sheets (style 35-10P or 46-6P). Each photograph sheet holds up to ten 3 • x 5-inch photos or six 4 x 6-inch photographs, arranged back-to-back. The DHR ID number(s) should be written in the white margin along the edge of the photo sleeve.

Black-and-White (35mm) Film: Each roll of 35mm film receives a unique 5-digit negative number that is assigned by the DHR Archivist in Richmond at (804) 367-2323. Negatives are submitted in Print File brand, style 35-7BXW protective transparent sleeves in strips of four to six frames. Each strip must have the five-digit DHR negative number written between sprocket holes at the top right corner. Do not cut apart the negative strips or the negative sleeves. Label the top of each negative sheet with the DHR negative number, date that the photographs were taken, and the subject’s name and DHR file number.

A photograph log for each set of negatives must be provided. The photograph log should include a detailed list of the resources with their names, DHR identification numbers, frame numbers, city or county, date of photograph, name of photographer, and brief descriptions of the images.

For historic district surveys, the name of the historic district and the historic district’s DHR file number must be included on the negative sleeve. The photograph log for a historic district must include the address and name (if one exists) of the photographed resources (by frame) and the three-part DHR identification number.

Digital Images: Electronic image files must be saved as uncompressed .TIF (Tagged Image File format) files on CD-R media. The size of each image must be 1600 x 1200 pixels at 300 ppi (pixels per inch) or larger. It is recommended that digital images be saved in 8-bit (or larger) color format, which provides maximum detail even when printed in black-and-white. Digital images should be printed according to the general photography guidelines above. DHR has adopted the National Register of Historic Places and National Historic Landmarks Survey photograph policy with regard to acceptable ink and paper combinations for digital images. See NPS regulations at http://www.cr.nps.gov/NR/policyexpansion.htm.

Digital images should be named using the following convention: DHR File Number, resource name, year that the photograph was taken, and view. There should be no spaces in the file name. The TIF image file name should be no longer than 100 characters in length (abbreviate resource name and/or view description if possible).

For example: 134-0011_FerryFarmPlantation_2005_east_elevation

002-0130_Pantops_1972_west_elevation

• Negative number (for 35mm photographs only, see below)

• DHR identification number for resource

• Date of Photograph

• Name of Photographer (Optional)

• A Brief Description (e.g. "Main House, south elevation" or "Main House, second-floor, southeast bedroom")

Updated June 10, 2009 2

111-0009-0085_1600CharlesSt_2007_S_wing

All of the digital image files for a single property should be collected within a folder prior to being saved on the CD-R. The folder should be named using ONLY the DHR file number: for example, the three folders for the example image files above should be named: 134-0011, 002-0130, and 111-000-0085. No other information may be included in the folder name.

CD-Rs should be labeled with a project name, agency/company, month/year of photographs, project/contract # (if applicable), and the range of DHR resource numbers saved on the CD-R.

Slides: A survey project may require color slides for intensive-level surveyed properties, public slide presentations, or to accompany Preliminary Information Forms. Slides are labeled with the resource name, DHR identification number, location (county, independent city, or county-town), and date (if it does not appear on the matte).

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11.

Idaho State Historic Preservation Office

Photographic Standards

Archaeological and Historic Sites Inventory Forms and

National Register Nominations

2007

Archaeological and Historic Sites Inventory Forms

All photographs submitted to the Idaho State Historic Preservation Office as documentation for archaeological and historic properties must be sufficient to allow for concurrence with determinations of eligibility and effect. If the following requirements are not met, the submitter will be notified and any associated Section 106 Review delayed until photographs meeting the requirements are submitted. Additional requirements may be necessary in cases of Section 106 mitigation.

• At least two (2) clear photographs per property must be submitted for all recordings (see exception under IHSI forms below). Different requirements apply whether the photographs are part of the recordation contributing to the Idaho Historic Sites Inventory (IHSI) or Archaeological Survey of Idaho (ASI).

IHSI forms: While Section 106 and other surveys require at least two (2) photographs per property, non-archaeological Certified Local Government (CLG)-generated surveys can be limited to one (1) photograph per property. All surveys should consider that for properties containing two or more resources, photographs of associated structures/features are required. When photographing historic buildings, photograph the primary (front) exterior wall of each property recorded; oblique images, where possible, are recommended. Depending upon the complexity of a property, it may be appropriate to take several photographs from various angles as well as of major additions and/or alterations.

Acceptable forms of photographic documentation for IHSI forms include:

Black and white archival-quality prints for 35mm photographs.

Black and white or color archival-quality digital photographic prints.

Photographs in JPEG or TIFF format on CD in addition to hard-copy prints.

Negatives

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12. HERITAGE INFORMATION SERIES

PHOTOGRAPHIC RECORDING OF

HERITAGE ITEMS USING FILM OR DIGITAL CAPTURE

New South Wales, Australia.

Find the full 43 page PDF here: http://www.heritage.nsw.gov.au/docs/info_photographicrecording2006.pdf

or here: http://www.heritage.nsw.gov.au/03_index.htm

Photographic Recording Of Heritage Items Using Film or Digital Capture
This document was prepared by Lawrie Greenup in 2006 based on the original
guidelines, Guidelines for Photographic Recording of Heritage Items produced by
Don Godden for the Heritage Office in 1994.

Film-based Projects:

· Three copies of the photographic report inc luding catalogue
sheets, photographic p lan, supplementary maps [see pages 18 & 23];
· B&W materials:
o One set of archivally processed and numbered B&W negatives
stored in archival sheets or envelopes [see page 23]
o Three sets of archivally processed proof (contact) sheets,
labelled and cross-referenced to the catalogue sheets [page 23];
· Colour materials:
o Three sets of colour transparencies (either original transparency
plus two duplicates or three original images taken concurrently)
numbered, labelled and cross-referenced to the catalogue
sheets and stored in archival slide sheets [see page 23].

Digital Projects

· Three copies of the photographic report including catalogue sheets,
photographic plan, supplementary maps [pages 18 & 25];
· Three sets of thumbnail image sheets (e.g. A4 page with six
images by six images) showing images and reference numbers
The thumbnail sheets should be processed with archivally stable
inks on archivally acceptable photographic paper and cross
referenced to catalogue sheets [page 25-26];
· Three copies of CD or DVD containing electronic image files saved
as TIFF files with associated metadata, and cross-referenced to
catalogue sheets [page 27];
· One full set of 10.5x14.8cm (A6) prints OR, if a large project, a
representative set of selected images processed with archivally
stable inks on archivally acceptable photographic paper [page 25].

PHOTOGRAPHER'S REQUIREMENTS

The photographer undertaking the recording of a heritage place needs to have:
· requisite training, skills and equipment to undertake heritage assignments;
· awareness that heritage sites and surrounds often have a range of hazards, which have to be considered in undertaking the photography, including:

o dangerous substances

o confined spaces

o demolition activity

o adverse environmental and weather conditions

o moving machinery and vehicles

o noise

o dust

o overhead hazards

o remote locations

o working at height, or over, near, on, in or under water;

· public liability insurance, as well as workers compensation Insurance
Photographer needs to visit the site prior to commencing the project.
Preferably this should be with someone who has an understanding of
the heritage photographic project. This allows the photographer to
assess what photographic equipment is required, as well as being able
to assess the site’s safety requirements;
· access to safety clothing such as safety helmet, safety glasses, ear
protection, highly visible safety vest, steel-toed boots or shoes. The
client may have requirements for additional safety equipment for the
photographer if working at heights or over or near water;
· materials for recording and documenting the photographic undertaking
including such things as notebooks, pens, pencils, maps, torches and
a compass;
· personal items such as sunscreen and insect repellent.

EQUIPMENT – FILM-BASED RECORDING

CAMERAS

35mm Single Lens Reflex (SLR) Camera

This is the most popular and versatile camera format and, when combined
with quality lenses, is entirely adequate for most heritage photography.

Medium Format Cameras

Medium format cameras, especially SLR systems, are often used. However,
these cameras are generally heavier and less versatile for field work than
35mm SLRs. The format is ideal if large, quality enlargements are required.
Some types have interchangeable backs allowing one camera body to be
used with different film types.

Large Format Cameras

Large format cameras are for specialised use, such as architectural
photography, and are best when a slow and studied approach can be
undertaken. Their bulk restricts their use in the field.

FILM

There is a range of black and white, colour transparency and colour negative
films on the market. Films vary in their sensitivity to light. If the film is highly
sensitive to light, it needs only a little light to form an image and is called a fast
film. A slow film needs a lot of light to form the image so therefore is called a
slow film. ISO is the standard way to indicate film speed or its sensitivity to
light. A high ISO number indicates a fast film; a low ISO indicates a slow film.
Slower films are preferred for heritage photography as they give fine -grained
images, with excelle nt contrast and sharpness. Sometimes faster films may
be necessary because of low light conditions.
Most good quality, brand -name film from recognised manufacturers is
acceptable.

Black and White Film & Processing
Black and white film, if properly processed and stored, is the preferred
medium for archival recording. Slow and medium speed black and white films,
50 – 125 ISO, are preferred, although faster films, 400 ISO or faster, may be
required under low light conditions.
Black and white films designed to be processed using the chromogenic C41
process are not acceptable because they are not sufficiently stable and are
unsuitable for long term storage.
Processing Film for Long-term Stability
Careful processing of the negatives under clean and controlled conditions is
the first step in achieving optimum long-term stability. This includes
developing and fixing of the image followed by washing and drying of the
negatives. Photographic companies producing black and white films have fact
sheets outlining the correct procedures to follow in the processing of their film
products. Film processing should be done by professional laboratories or by
the photographer, if they have darkroom facilities.

Either resin-coated or fibre-based photographic papers can be used. Optimum
permanence is achieved with fibre-based papers, although they may not be as
readily available. Long-term stability with fibre-based paper is ensured by
adequate fixing and washing.
Colour Transparency Film and Processing
Colour transparency film (colour reversal film or colour slide film) should be
taken, as well as black and white, because it provides colour information
about the heritage item. Also, it can be digitally scanned and used in
electronic presentations. The long-term stability of modern colour
transparency film has improved considerably, although black and white is still
the most stable, Processing (E6 chemistry)
Colour Negative Film or Prints
Colour negative or print films using chromogenic C41, processing are not
acceptable for heritage recording as their longevity is poor and they do not
meet the permanence standards. Colour negatives and prints often fade, lack
the detail and sharpness of colour transparency film, and have restricted
contrast and colour range. *
Black and white prints produced by C41 processing have the same problems
as colour negatives or prints.
DIGITAL CAMERAS

35mm Single Lens Reflex (SLR) Digital Camera
As with film photography this is the most popular and versatile camera format.
Again, when combined with quality lenses and a range of accessories, the
35mm digital SLR camera is very suited to most heritage photography needs.
There are a number of brands available and the most suitable ones for
heritage photography should have the following specifications:
· 8 megapixels or more resolution.

A good quality 8 MP digital SLR camera can produce high
quality prints which are suitable for most heritage studies.
If larger images or prints are required cameras with a 10 MP
or more may be needed.

Image File Size, Format and Digital Image Management

Heritage photography requires quality images and the photographer needs to
make choices about image sizes, compression, and file formats. These
choices determine the image quality and image file size.
The photographer should undertake the following:
· photograph at the highest quality;
· record image in RAW format to capture the maximum amount of
information; and
· provide client with a copy of the image in RAW format and a copy
converted to TIFF format, a universal format.
· DO NOT save images in JPEG format as this uses lossy compression
which degrades the image to some extent.
There are a number of software packages which can be used to sort, label
and file captured images. The labelling should relate to the specific project
and to the catalogue sheets.

PHOTOGRAPHIC METHOD

Every photographer has an individual technique. When photographing for the
purpose of making an archival record, however, it is the information content
rather than the artistic effect which is paramount. Photographs of a particular
scene should be uncluttered with extraneous material and should emphasis
the subject.
The photographer should be aware of all plans and documentary evidence
available on the place and should have an understanding of its history and
operations. This is especially important with industrial sites. Without this
knowledge significant items may not be treated appropriately. If necessary,
the photographer should be accompanied on the site by a person familiar with
the site’s heritage significance and the processes related to it.
The preferred shooting method is to proceed from the general to the specific.
There are two methods which can be used.

1. In the first method the context photo is taken first, then the structures or
items showing their relationship to each other, followed by the external
facades of each building, the relationship of the elevations to each other and
to all equipment or relics housed in each space. Internally, the main elevation
of each room or space should be photographed. Finally, each piece of
equipment in each space should be carefully and completely photographed.

2. In the second method, the external content photographs are taken initially
and the individual buildings and relics are then photographed in a sequenc
determined by either geographic location, a precinct convention, or, in the
case of industrial sites, by a material flow chart.
Whichever method is used the photographer must be aware of the appropriate
sequence, and the site must be inspected and the project planned before
commencement.

BASE PLAN

The photographer must be equipped with a map of the site on which each
building, structure or movable item is shown. Each building, structure or
movable item must be given its correct name or it must be denoted by a
symbol such as a number or letter of the alphabet. Identify movable items.
Where there are a number of buildings on a site, it may be necessary to draw
each building separately. In some cases, each space may have to be drawn
separately.
Some photographers like to draw a sketch plan themselves as it increase their
awareness of the buildings and their contents.

SCALE RODS AND MEASURING STICKS

It may sometimes be useful to include a measuring stick placed in the plane of
the photograph’s subject which will serve as an indication of the relative scale.
(Note: this will be essential for an archaeological excavation, but may not
always be practical or necessary for other kinds of photographic recording.)
For large scale photographs the stick or rod should be similar to a field
surveyors levelling staff, at least one metre long calibrated in bands from
10mm to 1,000mm wide. For photographs of smaller details prepare a ruler
approximately 300mm long with calibrations from 1mm to 10mm. The
markings on the scale rods must be bold to be able to be read in the print or
slide.

RECORD OF PHOTOGRAPHIC METHOD

Photographic records are taken on behalf of a client and it is essential that the
client, or the client’s representative, is able to review the catalogue and be
satisfied that the coverage is complete.

Photographic Catalogue

Each image must be catalogued. By adopting a set sequence the catalogue
recording is much simpler. With film it is normal to assign a number or
alphabetical prefix symbol to each type of film, then to number each roll of film
and finally to number each frame. Digital images have a unique image file
number.

It is normal practice to have a catalogue sheet and enter as much information
as possible in the field. Further annotation may be made off-site if required.
This may be done when the images are available to be viewed or it may be
done simply by reference to the original field notes. The catalogue sheet is
then typed. The typed version then becomes the image catalogue. In the case
of film this is stored with the negatives and all copies of the contact sheets.
With digital recording the catalogue sheet should be stored with the
‘thumbnail’ image sheet and the CD-R disc.

PHOTOGRAPHIC TECHNIQUE

CONTEXT PHOTOGRAPHS

Each site, place or movable item or collection should be recorded in its
context. This means that the surrounding landscape with the site and
structures in it should be photographed from several distant points. Buildings,
rivers, landform and other items should be included and their relationship with
the subject defined. Photograph the site, room or space where movable items
are located and show how the items relate to each other and their setting. In
some cases this will require 8-10 images.

RELATIONSHIP OF BUILDINGS ON SITE TO EACH OTHER
The spatial relationship of each structure to another, and to surrounding
buildings or structures should be shown. This will allow functional connections
to be recognised. Quite often, this can be done by placing the camera where
four or five buildings are in view and taking a series of images radiating from
the point where the photographer is standing. On a complex site five or six
positions may be required before each building is defined in its relationship
with those surrounding it. In other cases, one or two shots are all that are
required.

INDIVIDUAL BUILDINGS OR STRUCTURES

External images should be taken of each façade with a perspective control
lens or a telephoto lens where possible. Wide angle lenses tend to distort the
perspective of building facades.
The detail of each façade should be approached in a logical manner usually
working from the upper left-hand corner to the bottom right. Details such as
eaves, soffits, rainwater heads, downpipes, window reveals and sills,
doorways and steps, and balustrades will require individual treatment.
Where individual features are outstanding because of their form, texture,
historic nature or condition, several images of one item may be necessary.
This may include images taken from a distance as close as a few centimetres,
in which case a macro lens will be required.

INTERNAL SPACES

Internal spaces of an individual building are usually more complex. Here
knowledge of the operation of the space is essential. Images should be taken
in a sequence to show all internal elevations, including floors and ceilings,
where possible. Special attention should be placed on structural elements,
fittings and any movable items. Do not forget spaces which are difficult to get
to, such as the roof, basements, shafts and underfloor spaces.

FINAL PHOTOGRAPHIC REPORT - DIGITAL REQUIREMENTS

MINIMUM REQUIREMENTS FOR DIGITAL PHOTOGRAPHIC REPORT

When the survey is complete the minimum requirements for the
photographic report and materials are:
· a very brief report or introduction which explains the purposes of the
report and gives a brief description of the subject, as well as details of
the sequence in which images were taken. The report may also
address the limitations of the photographic record and may make
recommendations for future work;
· the report should include all technical details including camera and
lenses, image file size and format, technical metadata associated with
the images, and colour information;
· the report should also contain the catalogue sheets, photographic plan
and supplementary maps or plans .

MINIMUM REQUIREMENTS FOR DIGITAL MATERIALS

The minimum requirements for digital work are:
· three hard (paper) copies of the photographic report including
catalogue sheets, photographic plan and supplementary maps;
· three sets of thumbnail image sheets (e.g. A4 photographic paper with
six images by six images) showing images and file numbers.
Thumbnail image sheets should be processed with archivally stable
inks using approved archival photographic papers and crossreferenced
to catalogue sheets;

· three copies of archival quality CD-R discs containing electronic
images files and associated metadata, cross-referenced to catalogue
sheets. If there are a large number of images, then DVD media can be
used;

· one set of 10.5 x 14.8cm (A6), prints using archival quality paper and
archivally stable inks. If the project is very large and includes a
considerable number of digital images, key or representative images
may be selected for reproduction at 10.5 x 14.8cm.

This technology is available through professional photographic laboratories.
Currently, there are three acceptable systems:
· Epson PictureMate Printers (or Epson equivalent) using Epson
UltraChrome K3 inks and Epson archival photographic paper (Epson
PictureMate paper (dye-based inkjet printing);
· Hewlett-Packard (HP) Photosmart Photo Printers (or HP equivalent)
with HP Vivera Inks and HP Premium Plus photographic paper papers
(dye-based inkjet printing); or
· FujiFlex utilising Fujicolor Crystal Archive Type One or Type Two Paper
printed with Fuji Frontier digital minilab and Fuji washless
chemicals(silver-halide colour prints).
One-hour shops, particularly those using C-41 processing, are not suitable for
producing prints acceptable for long-term storage.

http://www.heritage.nsw.gov.au/03_index.htm

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13.

The Metric Survey Specification for English Heritage

Published 2000, reprinted 2003

FULL DOCUMENT: http://www.english-heritage.org.uk/publications/metric-survey-specification/

An excerpt from English Heritage Specifications

4.2 PHOTOGRAMMETRIC AND ORTHOPHOTOGRAPHIC SURVEYS

4.2.1 Image provision

All stereoscopic imagery is to be provided by image platforms specifically manufactured or adapted for the c1ose-range application of photogrammetry. Unless otherwise stated in the project brief, the use of glass-plate film is rejected for metric survey work for English Heritage.

4.2.2 Film-based platforms Where 'metric' and/or 'semi-metric' platforms are proposed, these must have:

• An image format greater or equal to 60mm x 60mm

• A fixed focus lens that displays minimal distortion. This is to be calibrated to provide a precise focal length measured to within 0.0 Imm and the precise distortion characteristics measured to enable compensation to occur during any later processing. A copy of the calibration report is to be provided along with the final survey materials. Details of proposed cameras and lenses are to be provided with the method statement for each survey

• A reseau plate with at least four fiducial marks visible per image

• A film transport system that provides a suitable flatness for each image exposure and will fulfill the stated tolerances for image restitution during later processing

4.2.3 Exposure of fiducial marks

Where practicable all available fiducial marks should be equally exposed and visible upon each image acquired on site. This is particularly important where the chosen image platform does not have self-illuminating fiducial marks. Where fiducial marks have not been correctly exposed, the achieved accuracies of orientation are to be noted for each affected stereo-model during any later processing work. Where these may lead to orientation residuals being outside of the standard tolerances, the English Heritage Metric Survey Team is to be contacted to agree any necessary variation prior to processing the affected stereo-model.

4.2.4 Film-based criteria

Where film-based imagery is proposed, it must be taken with appropriate monochrome film and must: Have a fine grain size for high-quality image definition with ISO value of at least 125 or slower for monochrome,

160 or slower for colour

• Be processed to an archival standard as recommended by the manufacturers

Where colour imagery is specified, all the above criteria must be met along with the appropriate balancing of film for either daylight or artificial illumination. A standard colour chart and/or grey scale is to be included in at least one of the images per object area to provide guidance on colour balancing prior to output. The project brief for each survey will indicate where monochrome, colour or transparency film will be required.

4.2.5 Production of positive images (diapositives) for photogrammetry

Film-based negatives after initial development are to be converted into contact positive images for use in any subsequent photogrammetric processing. The primary negative is to be archived in an appropriate sleeve. No photogrammetric processing is to be carried out from the primary negatives or from positives not based upon the contact copying process, unless noted in the project brief.

4.2.8 The use of small-format image platforms

The use of smaller image platforms - below 60mm x 60mm for film-based cameras and sub 4000 x 4000 pixel resolution for digital platforms - is not allowed in the standard specification. If a particular project requires the use of such imagery, this will be specified in the project brief. Full details of camera calibration, lens distortion or pixel resolution (digital only) will need to be provided in the method statement

(4000x4000 pixels is equivalent to a 16 Megapixel digital sensor -SS)

4.2.9 Date and time of exposure

In order to provide proof of when the archive image was actually taken, the date and time of exposure is to be noted within at least one image per object area.This may be a hand-written note placed in the appropriate frame adjacent to the object area being surveyed.

FULL DOCUMENT: http://www.english-heritage.org.uk/server/show/nav.1156

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14. (Abridged) Overview of FEMA Guidance for Photographing Historic Resources

The Complete FEMA Guidelines can be found Here: http://fpiweb.historicpreservation.gov/webpages/PHOTOprotocolweb/index.htm

FEMA Photographic Essentials:

Perspective and Elevation Photographs

Architectural photographs are of two general types: perspective photographs and elevation photographs. A perspective photograph (oblique)shows two sides of a structure taken at a 45-degree angle thereby documenting its characteristics as a three-dimensional form including size and volume. (In a perspective photograph, the structure should fill about 75 percent of the frame, thereby including some environmental context.) An elevation photograph approximates an elevation architectural drawing and is taken head-on as if it were totally flat. The emphasis on one side of a building as two-dimensional surface makes an elevation photograph more axiomatically correct. (In elevation photographs, the structure should fill the frame, isolating it from its surroundings.)

Required Camera Type

The minimum camera requirements for this photographic guidance are a 35 mm camera or digital camera. The digital camera should be at least a medium-resolution camera (THIS IS A MEANINGLESS STATEMENT -SS) which constitutes the majority of consumer digital cameras.

Camera Handling

A primary requirement of an architectural photograph is that vertical lines that are parallel in the building should be parallel in the photograph. In other words, the outside walls of a structure should not appear to converge toward the top of the photograph making the building look like it is falling over. This is especially important in elevation photographs. Convergence occurs when the photographer tilts the camera backward to get the top of the building in the photograph. To overcome convergence, you should hold the camera so that the back of the camera is vertical, at a 90-degree angle to the ground. This insures that the plane of the film, in the back of the camera, is parallel to the plane of the building.

Film

You should use Kodak Royal Gold color negative film of ASA 200 or ASA 400. Black and White film is found to be much greater archival stability, so for negatives intended for archival storage, the use of black and white film is preferable. Since color information is often more useful for planning and design, the use of a second camera body and the shooting on color and black and white would be ideal. It is now recommended that a complete set of digital images be made when the film is processed, a service that is now often quite common and reasonable. These digital images may not be at the resolution of the film, but they are more useful than film for filing of images in a number of places, and dissemination of images with no loss of resolution.

HARD HATS REQUIRED. Buy your own and keep it in your kit.

THREE FEMA LEVELS OF PHOTOGRAPHIC DOCUMENTATION OF HISTORIC RESOURCES

There are three levels of FEMA photographic documentation. The minimum level is the minimum number of photographs needed to record a three-dimensional built form. The basic level is the type and number of photographs needed to record as much information in as few images as possible, and the expanded level is the type and number of photographs needed to make a complete evaluation of integrity.

The Minimum Level of Photographic Documentation

At a minimum, two perspective (oblique) photographs are required to document a building or structure. These include a photograph showing the front and one side of the building and a second photograph showing the rear and the other side of the building. These two photographs document all four sides of a building. If photographs will be taken in cities and towns where the buildings are at high densities along streets and it is not possible to get a rear perspective. In this situation, the second photograph should be an elevation and a third might be an important architectural detail.

The Basic Level of Photographic Documentation

The most widely recognized guidelines for photographically documenting historic resources are those of the Historic American Building Survey and the Historic American Engineering Record (HABS/HAER) of the National Park Service. For FEMA, the initial survey will probably concentrate on the exterior. Integrity decisions are made of the basis of the exterior for two reasons. The first is because the exterior of an historic resource conveys the most information about the aspects of its integrity. Secondly, and very practically, because in a response phase you will only have time to document the exterior of a resource and will be taking photographs before interiors have been certified as safe to enter. The exterior is also important because a resource cannot have lost its integrity on the exterior and still retain overall integrity.

Based on HABS guidelines, FEMA considers the following views of the exterior essential for architectural structures:

1. General view at a distance sufficient to show environmental setting, landscaping and adjacent buildings, if appropriate

2. Elevation of front façade

3. Perspective view of the front façade and one side;

4. Perspective view of the rear and one side

5. Close up view of the main entrance

Damage to the structure caused by the natural disaster should be evident as part of these views. If you do move in to shoot details of damaged areas, be sure to show how the damage relates to the overall building. If the interior is documented, the following views should the taken:

1. A view from the main entrance looking to the interior of the building.

2. Views of major spaces/rooms including important features such fireplace or mantle (for large spaces such as sanctuaries, factories or barns take diagonal views from opposite corners)

3. Other significant rooms or features as considered relevant to documenting the structure.

Since you will be working under intense time pressure with FEMA – to document as many buildings as quickly as possible – you should approach each structure with this checklist in your mind (of the five basic exterior views and three basic interior views).

When to Expand the Basic Level of Documentation

You should determine whether to expand this basic level of documentation depending on the nature of the structure being photographed and what needs to be documented. For example, two perspective photographs work best on square or rectangular structures with four outside walls. A structure of more complex shape, with more outside walls, such as C-shaped building, will require more perspectives to insure that all of the walls are included in at least one photograph.

The Expanded Level of Photographic Documentation

In doing the walk-around to become familiar with the physical characteristics of a historic property, you also need to evaluate the physical damage – where it is and how extensive it is. You should plan your photography to include both the most damaged part of the building and the part that remains most intact. In order to accomplish this you may need to expand the number of photographs in the FEMA basic guidance. For example, the circular motion of hurricane damage can be so tight that it will take off one corner off of a building while leaving the rest intact. You should try to photograph important features of a building if they have been blown off from wind damage, but still remain partially intact.

Although we will discuss the documentation of aspects of integrity by type of view below, the organization of views at this expanded level are from views of the overall building to the closer views of architectural elements and details moving in a counterclockwise fashion. (As indicated, this is the sequence for detailed HABS/HAER coverage). Each side of the property is photographed from the overall view, such as elevation, to detailed views in the zoom lens manner of looking at a property as discussed above. For documenting integrity, this sequence specifies an approach that can be varied depending on the complexity of the building.

Environmental

1. Environmental view of the front and right side (looking at property from front) (FEMA Basic)

2. Environmental view of the rear and right side Perspective

3. Perspective view of front and right side (FEMA Basic)

4. Perspective view of rear and left side (FEMA Basic)

Front side

5. Elevation of front façade

6. Elevation or perspective of front entrance (FEMA Basic)

7. Perspective or elevation views of architectural elements such as porches or windows

8. Details of materials and/or decoration

Right side

9. Elevation of front façade (FEMA Basic)

10. Perspective or elevation views of architectural elements such as porches or windows

11. Details of materials and/or decoration

Rear

12. Elevation of rear

13. Perspective or elevation views of architectural elements such as porches or windows

14. Details of materials, hardware and/or decoration

Left side

15. Elevation of left side

16. Perspective or elevation views of architectural elements such as porches or windows

17. Details of materials, hardware, and/or decoration

Remember, however, that these are guidelines to be modified depending on the building, or structure, and its environment.

“Working a property:” Organizing Documentation with a “Shoot List”

It is essential to organize your documentation according to the FEMA guidance levels and maintain a list of captions of your photographic or digital images. A photo index in which exterior photographs should be listed in the same counterclockwise sequence in which the photographs were taken. Since the final photo index will be organized this way, it makes sense to organize your preliminary “shoot” list in this same manner. A “shoot list” is the list of photographs you plan to take after you have surveyed the building making the circular walk on the outside and walking though it. When doing more than the minimum two-shot documentation, it critical to plan your photographs for three reasons: after you start you can easily forget what you have photographed; once you start shooting you will see views you had not anticipated; and it is the basis for your index and description of views.

The Complete FEMA Guidelines can be found Here: https://www.historicpreservation.gov/web/14501/71

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15.

A Whitepaper on Documentation Photography for CEQA Cultural Resource Mitigation

By Stephen Schafer, www.HABSPHOTO.com Contact via E-mail ""schaf@west.net""

*******************DRAFT FOR PEER REVIEW.*****************

Resource Recordation for CEQA

What makes a good template for a local California Environmental Quality Act (CEQA) recordation guideline? This Whitepaper explores a format for CEQA impact mitigation photography standards that can be used as a starting point to guide CEQA or local photographic mitigations. The intent is to ensure high-quality recordation of cultural resources, repeatable archival quality, and adequate dissemination while avoiding mitigations that are punitive, excessive or disproportionate with the significance of the resource.

Why are recordation guidelines in California inconsistent or created on a project-by-project basis? Because there are no actual State recordation standards, just a hodgepodge of adapted concepts "cut & pasted" from the Historic American Buildings Survey (HABS) or the National Register Photo Guidelines. While HABS and the NRHP are fabulous programs – built on solid foundations of recordation to archival standards – they are only effective if taken in their ENTIRETY. Imagine prepping for a big dinner, following the recipe to the letter "...use expensive, large-format, stainless steel pots & pans, sharp knives, measured herbs & spices, and fresh lobster cut in 4x5 pieces..." All that work and then never turn on the grill because the recipe stopped short of actual cooking.

"Of course there are a plethora of projects that get recorded solely to check

the 'completed' box on the Mitigation Monitoring checklist"

Undercooked...that's been my experience with some CEQA mitigation photography for resources that don't require National Park Service input and are not officially submitted to HABS, HAER, HALS or the Library of Congress. Unfortunately this is the case with many of the documentary photos and measured drawings produced under CEQA, for Mitigated Negative Declarations ( MND )

and Environmental Impact Reports ( EIR ). Some documentation packages created by cities, counties or developers to lessen a project's impacts to historic resources end up as just parts and pieces of complete documents, either not living up to the standard of quality and detail, not lasting more than a generation, or disappearing into "off-site-storage" (report purgatory – where old 3-ring binders go). Of course there are a plethora projects that get recorded solely to check the 'completed' box on the Mitigation Monitoring checklist, and if the checkmark is more important than the documentation package produced – then any ol' photography will do.

A DRAFT PROPOSED GUIDELINE FOR HISTORIC RESOURCE RECORDATION IN CALIFORNIA

Since this is a draft, I will invent an acronym for Historic Resource Recordation in California "HRRC surveys". While this nomenclature is imaginary, my guidelines are rather specific and are meant to include recordation of buildings, structures, districts, engineering, landscapes and objects. (CAL-HABS is another option)

First a little background...

The Legislature of California put a high value on the state's environmental resources and codified its desire to protect resources with the California Environmental Quality Act (CEQA). Because of CEQA, projects in California are more fully examined than most other states; and the byproduct of this examination and assessment is an industry catering to the research and creation of not only reports, but also mitigations. While development projects take place in every state, in many states a historic resource review is ONLY conducted when federal funds are being applied to a project, thus requiring federal Section 106 (National Historic Preservation Act) review.

However in California, EVERY project that 'MAY' have a significant impact on ANY cultural resource or 'POTENTIAL' cultural resource needs to go through CEQA review of some sort. That's what I call the CEQA Multiplier. In a year a typical mid-western state may have a handful of historic resource projects that reach the federal threshold for 106 review, but California easily creates hundreds of reviews, maybe thousands in 'boom' years because every project big or small that effects cultural resources is caught in the net. So California creates exponentially more reports and mitigations, and many of the impacted historic resources are being photographed in every way imaginable... HABS-LIKE, “on 4x5”, HABS-Lite, Archival, Black and White, professionally, or architecturally (Note: most of those terms are ambiguous if not meaningless).

If a lead agency creates mitigations to record a small house and the RFP specifications state: "HABS/HAER/HALS" photography is required, that's a clue that the entire specification for documentation is a cut & paste and no one really knows what they need.

First lets look at why the National Park Service's historic recordation programs work so well – since HABS is the oldest preservation program in the US, it must be doing something right! All three programs HABS/HAER/HALS are similar so we'll examine HABS as a test case.

The Historic American Buildings Survey has a long and successful history.

HABS history can be found on the web in many places like here: http://info.aia.org/nwsltr_hrc.cfm?pagename=hrc_031215_history