I call them facsimiles or digital surrogates.

Please try not to sneer too much.  

Facsimiles have a valuable roll in the museum environment.  In high traffic areas,
they take the brunt of stolen touches.  In uncontrolled historic structures, they
fail instead of the original.  Some collectors will loan (indefinitely) a digital
surrogate of their work, rather than the curator not securing the use of document
for an exhibition.

Tim Vitale 
Paper, Photographs & 
Electronic Media Conservator 
Film Migration (still) to Digital Format 
Digital Imaging & Artwork Facsimiles 
Preservation & Imaging Consulting 
Preservation Associates 
1500 Park Avenue 
Suite 132 
Emeryville, CA 94608 
510-594-8277 
510-594-8799 fax 
[log in to unmask] 
[log in to unmask]" target="_blank">http:[log in to unmask]
[Use of the above URL may require a "Yahoo! ID" to download files.] 
Albumen website (2001) http://albumen.stanford.edu/
VideoPreservation Website (2007) http://videopreservation.stanford.edu
-----Original Message-----
From: Museum discussion list [mailto:[log in to unmask]] On Behalf Of
Robin Patel
Sent: Wednesday, November 19, 2008 2:09 PM
To: [log in to unmask]
Subject: Digital Reproductions


Dear All
 
In the age of digital photography, scanning and reproductions produce
misconceptions of what is "original"  and what are "copies" (surrogates).
 
There is a debate ongoing within my museum as to which is the correct Object Name
we should give to the following:
 
A photograph that has been scanned and printed (reproduced) on photographic paper.

A digital photograph obtained from an archive. 
A normal photocopy of an image. 
 
Each of these items are reproductions and should be recorded as such. However,
should we give them the name 'photograph' or 'photocopy'?  Should we confine
'photocopies' to the realms of basic Xerox copies? Do we mislead using the term
'photograph' when it is indeed a copy? Any input to this issue is warmly welcomed.
 
Regards
 
Robin
 
 
 
 
 
 
 
 
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