A Year in the Life of Audiovisual/Media Preservation in Illinois: Patrick Brown's Story of His Year

Audiovisual Materials at Southern Illinois University Carbondale Case Study, Patrick Brown

Patrick Brown, Preservation Librarian at Southern Illinois University Carbondale

A Year in the Life of Audiovisual/Media Preservation in Illinois: Grant Writing

James “Joe” Feigl III, University of Illinois Urbana-Champaign graduate student and Melanie R. Schoenborn, Southern Illinois University Edwardsville​

Grant writing for audiovisual preservation starts with the basics: learning who has funding available and how that money can be used.  In the world of philanthropy the value of a library preservation project is based on the service it will provide and who will benefit from that service.  Grants will vary in their focus, with many current grants funding diversity, sustainability, LBGT, and digitization projects.  The goal is to use the information from an audiovisual collection analysis to develop a grant proposal that fits in with the philanthropy world’s current interests.  Below is an up-to-date annotated bibliography of materials about grant writing and also a list of currently available grant websites with examples of funded projects, the information on currently open grants, and future funding available for the preservation of library materials.

A Year in the Life of Audiovisual/Media Preservation in Illinois: Still Photographs and Photographic Formats

Jenny Dunbar, Archivist, College of DuPage​

Photographs were not always well regarded as historical documents. In the early stages of the development of archives, many archivists did not consider photographs as primary source material and relegated any visual material to a more subordinate position. Now, the value of photographs is appreciated, and they play a significant role in cultural heritage collections. It is imperative that these materials be preserved.

Like most audiovisual material, the preservation of still images is a complex one. Heliographs, daguerreotypes, cyanotypes, tintypes, albumen, silver gelatin prints, calotype paper negatives, glass plate negatives, nitrate, diacetate and polyester negatives, lantern slides, autochromes, film slides, digital photographs – the list goes on and on. The preservation of this multitude of formats is a daunting task that presents significant concerns, necessitating a variety of storage conditions and techniques. Additionally, photographic collections are usually heavily used, a factor that increases their susceptibility to damage.

A Year in the Life of Audiovisual/Media Preservation in Illinois: Inventory of Video

Melanie Schoenborn, Southern Illinois University Edwardsville

Why does a library do a video inventory? Should you do a sampling or a complete inventory? Reinvent the process or use tried and true methods? What, where, and how are the policies and procedures for doing an inventory? The answers to these questions reveal that an inventory allows the collection to be analyzed and the quality of this part of your library to be validated.