When digitizing collections, archivists should always take legal and ethical rights into consideration and proceed with caution when documenting culturally sensitive content—with sympathy as to the context of how the materials were collected, and consideration in the manner in which such content is presented.

Sensitive content includes anthropological images, materials related to Native American communities or heritage, or any cultural property. Additionally, it includes items that involve people photographed against their will or in exploitative situations. Please read on for a list of important rights, restrictions and considerations for the ethical archivist.

Although some archivists debate the necessity for item-level access, it is often more challenging to describe images in the aggregate. Collection-level description can be useful for images of the same subject, but problematic for collections with a variety of subjects, as it neither improves retrieval nor limits the handling of the originals. Group arrangement and description are necessary for large collections or when resources are limited.

Traditionally, archivists have dismissed arrangement at the item level as having little utility and being impractical for modern collections. However, archival surveys conducted over the years have found that a significant proportion of archivists have adhered to item-level description—even though it is contrary to the traditional archival practice of collection-level description. The same discrepancy between literature and practice appears to be true for visual collections.

In July 1945, Atlantic Monthly published “As We May Think,” by army scientist Vannevar Bush, an essay that had an immense influence on the history of computing. Bush was concerned about the explosion of information without a means to quickly retrieve data.

The article described a device called a Memex, an intuitive, associative retrieval system designed to supplement memory. He envisioned a desk with screens that would allow users to view documents, add notes, and create associations through a body of work.

The Memex was a conceptual ancestor to electronically linked materials and, ultimately, the Internet. Bush’s ideas were expanded by Theodor Nelson who, in 1961, coined hypertext and hypermedia to describe the environment where text, images, and video could be digitally interconnected.

Metadata is structured data about data, information that facilitates the management and use of other information. The function of metadata is to provide your users with a standardized means for access to digitized materials. However, it is not enough to use just any metadata standard.

Metadata is one of the significant costs of digitization. Although archival items can be digitized without cataloging, a digital collection cannot be created and delivered without metadata.

Providing sufficient metadata promptly for the abundance of digital resources can create a bottleneck in a workflow. Creating and maintaining metadata about objects—and in particular digital information objects—is time consuming and costly. Metadata creators must provide enough information to be useful but cannot afford to be exhaustive.

Selection practice in most archives is aimed at meeting the current needs of user communities. Criteria developed by archives to select items for digitization are based on evidential and aesthetic values, as well as informational, intrinsic, and artifactual values.

Digital imaging captures all the information in photographic originals. Read on for some guidelines on making the best digitization choices, always with the ultimate usage of the images in mind.

Formal standards, such as Describing Archives: A Content Standard (DACS), Graphic Materials, and Rules for Archival Description (RAD), have been developed over time for the description of archival materials. While descriptive standards offer consistency, archival repositories employ descriptive systems suited to their holdings, not universal access, and description continues to be idiosyncratic.