Hello, welcome to NPTEL, NOCE, an introductory course on Point Setupology Part 2, module 27, today Nagata-Smirnov Metrization Theorem. As mentioned earlier, Euryzones Metrization Theorem does not give a complete answer to metrizability. This problem was solved by efforts of several people. There are various versions of metrizability theorem. We shall now concentrate on one such result which seems to be most satisfactory, namely Nagata-Smirnov Metrization Theorem. We shall present a proof due to Nagata. A proof due to Smirnov, you may look into Willard's book. Before that, we need to introduce another version of normality. So the Nagata's proof of metrization theorem is in spirit similar to Euryzones but since second countability is removed now, the embedding will be in a much larger product space and also we need a little more strengthening than normality. So that is what we want to introduce now. A topological space X is said to be perfectly normal if for every pair AB of disjoint closed sets inside X, there exists a map H from X to minus 1 plus 1 such that A is the precise inverse image of minus 1 and B is the precise inverse image of 1. So I have said AB disjoint closed subset. If one of them is empty, it does not make sense. So both of them have been non-empty also. That is necessary. That is said when you are talking about normality and so on. The precise inverse image, this is stronger thing. So even in a normal space, you will have A going to minus 1 and B going to 1, that is possible but there is more points may go to minus 1 and more points may go to plus 1. So that is where the perfect normality comes. This precise set of points where in this A is precise set of points where in H takes value minus 1. Similarly B is precise set of points where in H takes value plus 1. A normal space is perfectly normal if and only if each closed subset is G delta. So this is where the link between perfectly normal and normal is written. G delta is the key. Remember that under a continuous function, inverse image of any singleton, continuous function into a metric space, into a R for example. Inverse image of a singleton under a continuous function is a G delta. So if it is perfectly normal, A and B will be G delta sets. So what it says is each closed subset is G delta. Clearly perfectly normal is normal. There is no problem. So moving G delta for every A is every closed subset is G delta is what you have to show. That is all we want to say. So if only if part is obvious because once you have this, a closed subset must be G delta. If and only if is what I want to show. So to prove the if part, suppose A is intersection of Un and B is intersection of Vn for all Un and Vn. Un and Vn are all open subsets for all n and A intersection B is empty. Start with A and B are empty subsets. And write A as intersection of Un because it is G delta. B is intersection of G delta. Both Un and Vn for all of n, they are open subsets. By normality we can first show okay first of all assume that Un intersection Vm is empty. So you have A is contained inside Un, B is contained inside Vm but they may not be disjoint. A and B are closed subset, disjoint closed subset. Therefore inside these open subsets you can choose smaller open subsets. So set Un intersection Vm is okay. But it will contain A. So if we make some if you replace some Un by some Un prime, which still contains A and a smaller then this property will still be true. So one by one you can replace Un and Vn such that Un intersection Vm is empty for all n and N. Next we can also assume that Un is contained inside Un plus 1 bar contained inside Un plus 1 for all n. Once you have this Un, you can make it Un intersection U2 that will be open subset. Un intersection U2 intersection U3 will be open subset. Inside open subsets you can choose a smaller one such that Un plus 1 bar is contained inside that and so on. So you can make it decreasing. Similarly you can make Vn also decreasing. So that is what you can do by rearranging this redefining this Un. Now let fn from x to 01 is such that fn of x minus Un is singleton 1 and fn of Un plus 1 bar is 0. So this is by normality. I am here. I am not here. This is precise that this close set going to 1 and this complement is going to 0. This Un x minus Un, Un is larger. x minus Un does not intersect Un plus 1 bar. Un plus 1 bar and this bar disjoint subset. So you have got a sequence of function with this property. Take f to be sum of these fn's. Only thing is you should divide by some factor so that the whole thing is convergent. So I am dividing by 2 power n because I know that these fn's are bounded by 1. So this will be less than or equal to 1 by 2 power n summation. So this will also converge. So this dividing by some number is a general principle which you have to learn in analysis. Sometimes this may not be too far. Anything, if you have sequence of points, non-negative things, you can always divide them by some larger sequence of another sequence which is convergent so that you can make this one is convergent. It then follows that f from x to 0, 1 is continuous because each fn is fn divided by 2 power n is continuous. So this is uniformly convergent because 1 is dominated by 1 by 2 power n. So uniform limit therefore f is continuous and then now what happens? A is precise inverse of 0 of this one because if x belongs to A it must be inside every un. So there is no questions for every un. See this whole thing is 0 means corresponding fn is 0. Therefore you see the precise 0 set. Similarly we can construct a continuous function g from x to 0, 1 such that b is precisely g inverse of 0. All that you have to do is same construction do it with v n that is all. So you have two different functions. I want a single function to do that job. So this function f is such that its inverse image of 0 is A, g such that inverse image 0 is b. Now I want one single function such that inverse image under that is 0, inverse image of 0 is or minus 1 is A and plus 1 is b the other way. So for that I just take h equal to f minus 0 f plus. See f plus g makes sense because sum is never 0. See if f is 0 both of them are positive non-negative. If f is 0 that must be inside A which is disjoint from b. Outside b outside h is not 0 outside b g is not 0.  So I can divide by f plus g f minus g divided by f plus g always takes value between 0 and 1. So minus 1 plus 1 modulus of this one is less than 1 because this is always smaller than this one. Modulus of this is less than 4 to 1. So this h takes values with minus 1 plus 1. Finally suppose this h of x is 1 what does that mean these two are equal f minus g equal to f plus g equal to this is equal to 1 these two are equal what does that mean f minus g equal to f plus g. What does that mean? So such points are precisely g must be 0. So that will be a point of g.   So that f must be 0. So h inverse of minus 1 is precisely A and h inverse of 1 is precisely b. So this is perfect normality given by normality plus every close of set being g divided by now let us come to Nagata-Smernau matrization theorem proof which will be much simpler now because we have perfect normality here. A t3 space is matrizable. See there is no second countability now. If and only it has a sigma locally finite basis sigma locally finite basis should ring a bell that is something to do with para compactness. So proof of the only if part if and only if is there only if it has sigma locally finite basis. So that all that you have to do is a matrizable space has sigma locally finite basis. So this is what we have to do it is actually a matrizable space we have seen that it is para compact. So for each n belonging to n let u n be a locally finite open refinement of the open cover b 1 by n x let us belong to x fix n take b 1 by n x as x y is over x this is a cover. Okay this is an open cover for each n so that take u n to be a locally finite open refinement of this one. So for each n I have got a locally finite open refinement okay all that I want to do is now if you take union of all these u ns call that as b this is a base for a topology on x okay this I have limited exercise because you have done so much of this kind of things okay. So for all n is involved that is all you have to use all right. So show that this b is a base now clearly this is sigma locally finite because by definition each now by choice u ns are locally finite so by definition this is sigma locally finite okay let us now prove the if part let x tau be a t3 space and b equal to union of this b n be a base for tau okay remember each base is also a cover for x open cover where each b n I am again writing down it indexing with b n alpha where alpha is in lambda n. So b ns are members of b ns are indexed by this set lambda n okay and each b n is locally finite family this is the starting hypothesis now now take lambda to be the union of all these lambda ns over n okay. So this lambda is going to be our indexing set for you know your last time we took i raise to i raise to this n natural numbers now I would like to take i raise to lambda but I will do slightly better job here namely the proof is now going to be similar to the proof of uterus naturalization thing the sense that we are going to produce an embedding of x inside the Hilbert space l2 lambda the l2 space okay with l2 norm so I recall what is this l2 of lambda on any set okay any set l2 of that makes sense okay that is what I am going to do now I am just recalling it the generalized Hilbert space okay for any function f from lambda to r let us denote sf we can reach at support of f to be all those lambda such that f lambda is not here okay take l2 of lambda collection of all functions from lambda to r okay such that sf is countable and when it is countable look at the sum of all the f lambda squares some total of that is defined so it is square summable function that is the terminology okay square summable functions form a Hilbert space okay I will just use the word Hilbert space because the inner product here is not being exactly used only the norm is used and what is the norm norm is square root of summation of f alpha square okay if you want to know what is the inner product is nothing but fg inner product is summation f alpha g alpha if you have complex value functions you take summation f alpha g alpha bar and so on we are not interested in that part we are just interested in this norm okay so this is the Hilbert space the first step is since every open cover has a refinement consisting of members of b because b is a base right every open cover for each point you can select a member of the b contained inside that that will be refinement so but b is locally finite therefore from 3.6 follows that x is per compound okay so that is the the link between the condition sigma locally finite base and this one in particular x is normal what we want we want perfect normality or we will see why so first we have we have seen that it is normal space second space is we shall now prove that every open set u in x is f sigma so now we see g delta and f sigma are all both coming together here f sigma means what union of countable countably many closed subset right every open subset in x is f sigma okay then from theorem 6.7 it follows that fx is perfectly normal okay you want to recall theorem 382 normal space is perfectly normal if you know it is every closed set closed subset is a g delta you take the complements right that is all okay so so it is perfectly normal it is there next by regularity given x belonging to you there exists a basic element b which you may call it as b lambda b lambda x lambda x inside x such that x is contained inside b contained inside b bar contained inside u it follows that you put b n equal to union of all these b lambda x bar okay closures of all that as lambda rings over lambda n the union of closures of all locally finite of this is a locally finite family then is a closed subset okay because this is locally finite b curly b was sigma locally finite each b lambda b n square curly b n square locally finite and I am taking these things are inside these things are inside b lambda okay lambda n sorry here therefore this is locally finite and n's b n's are closed also know that b n is contained inside you because b lambda all of them b lambda bars are contained inside you therefore we have you itself is union of all these b n's for each point there is something when you take the whole of them it has to cover you itself so what we have shown u is countable union of closed subsets okay so that completes the proof that every open subset is f sigma third step is take each b lambda inside this base by step two we have a continuous function f lambda from x to i such that b lambda is precise non-zero points all lambda x all x such that f lambda of x is not equal to 0 okay the b lambdas are open subset every complement is a closed subset that will be precise set of 0 so it is not 0 that's all for each n inside n define g n from x to 0 infinity we are constructing these functions so that finally we can put it take all of them and put it them inside the Hilbert cube Hilbert space generalized Hilbert space so define g n to be from x x to 1 to infinity by the formula g n of x is this adding one is just for carefulness okay you could have added any epsilon no problem 1 plus f lambda x square where lambda is whole lambda so this is the countable family now okay this square summable so this makes sense so 1 plus that makes sense square root makes sense so that is g n of x by the local finiteness of the family number of b n's here okay this is actually finite now finite it follows that g n is well defined for the same reason it's continuous also because it's the finite sum this is continuous 1 plus that is continuous and this is never 0 that is why I put one error or some epsilon here I can take the square root the square root is also continuous note that for each lambda inside lambda it's unique n lambda inside n such that lambda is in lambda n lambda why look at this definition of our capital lambda is a disjoint union okay each lambda here belongs to exactly one of the lambda n that's all I'm using so that is important here to take the indexings at disjoint union of those countable disjoint union of arbitrary families whatever okay so where were we so so each n each lambda belongs to unique n lambda okay so I can talk about when lambda is in n lambda I can take h lambda of x to be f lambda of x divided by this number n lambda is some okay n lambda is some integer positive integer g n lambda also makes sense okay corresponding n lambda for each lambda is a unique n lambda okay g n lambda of x so divided by this one this is a non-zero function so divided by that so f x is f lambda is continuous this is continuous h lambda per continuous okay all these continuous functions taking values inside i now because f lambda is only one of you see if you take the square of this this square this square then this function is one of them here so the numerator is always smaller than the denominator and they are all positive so they take values inside i okay now I can define h from x to i raised to lambda itself okay in particular it will be instead r raised to lambda no problem by the formula hx of lambda equal to h lambda of x hx is a function from lambda to i so it's lambda value you can think of the function or you can think of it as a element in the product so it's lambda coordinate either way it is h lambda of x by the very definition if you take the product of all these should be continuous okay very first thing to do is take the h lambda is first of all you have defined it as an element of r raised to lambda but I want it to be inside l2 of lambda l2 of lambda is a subspace of r raised to lambda this is an element of r raised to lambda so this follows easily since first of all for each fixed x hx of lambda is not equal to 0 for finitely many lambda is inside lambda n for each lambda n is finite therefore set of points where in hx lambda is not equal to 0 is countable so s of this s of hx is the set of points where in it is not 0 this support that is countable now second thing is if you take the sum of all of them after squaring the square and then take some finite on on fixing lambda n this is a finite sum that is nothing but summation h lambda of x square lambda inside lambda n okay but by definition this is f lambda x square divided by n square because I have to take n lambda but lambda is in lambda n this n is this n itself here n square g n of x square I do not have to write g n lambda because n lambdas are all n here because lambda is in lambda n okay and this summation this this number is 1 plus this summation so this is smaller than this one so this is less than 1 by n square if for each n this is less than 1 by n square when you take summation of all of them that will less than summation of 1 by n square we succumb to convergent and we wanted that one convergent therefore hx is an element of l2 so we have got a function x2 l2 all right sir may you please repeat this step so we had a from starting with every element of x we wanted to associate a element of l2 of lambda that was from step 2 we found that every b lambda was open set so we can associate a function so that it is exactly non zero that was the first step first part of step that will come now in the that will come now in the proof of injectivity and continuity and all that right now the that this is opens up set precisely it is 0 etc is not used only local finiteness is used so that we have come you know this is countable the set of points s of s lambda right so to show that it is inside l2 of lambda only by n lambda right this n lambda term is got precisely for that not only that why in the definition of gn i have put one here for two different purposes first of all i should be sure that when i take square outs continuity etc i should not be getting into 0 don't bump into 0 secondly this term it is bigger than just this term so there are two purposes here okay so gn x is defined like this i could have i have told you any any positive constant would have done the job here okay so look at here now these are inside i it is not very crucial but this is but this numerator it divided by this this is so things less than n lambda that is important okay not just in i that is that won't give you anything it is less than 1 by n lambda 1 divided by n lambda that is important here okay so that will be when you fix lambda n lambda capital n capital lambda n what is n lambda n lambda is n so the same n is there so whole thing finite this finite collection is 1 by n square now you take some over n so that must be convergent that is convergent so we are inside l2 okay now comes you see the role of all this opens still be you will be there still you have to do that now check this h is injective given x1 not equal to x2 in x okay since x is hospital space is t3 space that we have assumed right you will have b lambda it is a basic element so say x1 is in b lambda and x2 is not in b lambda right so this immediately implies that corresponding f lambda of x1 is not 0 but f lambda of x2 is 0 so precise zeros have been used here now for f lambda but h lambda of x1 is not 0 whereas h lambda of x2 is not 0 because what is h lambda h lambda has f lambda's in the numerator and this is always non-zero this is 0 if it only if this is 0 right that is what it is so h lambda separate point okay therefore h hx1 of lambda will not be equal to hx2 of lambda so this lambda coordinates will be different as soon as x1 is not equal to x2 okay so this proves h is injective all right see countable family won't have been able to do in the local base we have used countable family of local base was possible if if x were second countable okay however some countability was necessary what is that sigma locally finite so that plays the role here next target to get l2 otherwise you won't be able to get l2 next we check that h from x to hx is a closer function okay injective closer continuity these three things we have to show right so continuity is at the last okay that a be any close subset of x you have to show the h a is close take a fee outside of h a it is inside hx of course okay everything is inside hx in the whole l2 we don't know we don't need that okay to show something is embedding you have to take the only image and work inside the image so fees h of some x for x inside x minus a because it is not in h a but then x belongs to b lambda contained inside x minus a okay a is starting with a close subset so you will have some b lambda so said x belongs to b lambda contains x minus for some lambda so that automatically implies h lambda of x is not zero whereas h lambda of a will be zero for all a inside a okay besides set of nonzero elements are inside b lambda so outside x minus outside a so for all a outside this inside x minus outside x minus a for all a it will be zero therefore if you take the norm of hx minus h a okay this is summation h lambda you know right of this minus h of that one there will be one term it's okay norm square is the summation squares and so on when you are taking square root there will be one term which is h lambda of x minus h lambda of a there will be many other terms they are all non negative terms this sum this therefore this thing is bigger than equal to this one okay one coordinate this is zero and this is not zero okay so that checks minus h lambda modulus is precisely equal to h lambda of x and that is positive this happens for all a one single number positive and this norm is bigger than that for all a that means the distance between hx and the set a is positive okay therefore hx cannot be in the closure of h a bar h a bar closure distance between hx and h of a is positive okay this says point wise but this is true for all a therefore distance between hx and h capital a is positive that means hx is not in the closure of h a okay we want to show that h a is closed so first of all hx is not in the closure since this is true for all points x minus a hx minus h a this implies that hx minus h a itself is contained inside h a minus h a bar because it take any point here it just now we have shown that it is not in h a bar that is all but by demorgan law this just means that h a bar is contained inside h a bar is contained inside a set itself that means that that set is closed okay maybe you can directly prove that from here here it is a open set I think close through in closeness is easier that is all all right now let us check h is continuous okay now you see the full force of all these things will be used how we have constructed given x belonging to x choose epsilon let epsilon be positive we have to produce some open subset u around x such that x belongs to x prime belongs to implies norm of hx prime minus hx is less than epsilon so this is the continuity I am using the the norm on the core domain okay x is just a topological space so I have to use only open subsets around that one which has for every x for every epsilon I have to prove this as soon as epsilon is given choose some n n such that n to infinity I can put it k also earlier I have to k also we have capital no problem n plus 1 to infinity 1 by n square is less than epsilon by 4 maybe epsilon by 8 if you want you can choose none matter okay by local finiteness of all these b n we get an open set v around x such that this open set v meets only finitely many members of b n for all n less than equal to capital N for each of them you will get a say b 1 you will get v 1 v 2 you will get v 2 up to b capital N you get v capital N but then you can take the intersection of v 1 v 2 with capital N call that at v that is all okay this v is the neighborhood of x which will make finitely many members of b n n ranging from 1 to capital N all right let us denote these members by b lambda i say b lambda i belong to all they will all belong to b 1 b 2 b 3 or b up to n where I do not care so totally they are in number k finite now choose a neighborhood view of x such that u is inside this v smaller neighborhood I am going to choose and these finitely many come continuous functions no h lambda i of x prime minus h lambda i of x is less than some epsilon I have chosen carefully some epsilon for this epsilon square root of epsilon by square root of 2k choose neighborhood okay for each of them choose neighborhood and then take the intersection take intersection with v you will get a subset u contained inside u for which all these inequalities will be true for all points x prime inside u okay that is by continuity of each h lambda i finitely many of them you can do this is for all x inside u if you now take the summation n bring to 1 to n and all points lambda inside lambda n h modulus of h x lambda minus h lambda of x square square if I take here that will be epsilon divided by 2k how many are there k of them so it is k times epsilon divided by 2k okay and that is nothing but epsilon bit alright all the sums up to capital n here is less than epsilon bit okay now on the other end what happens the second part namely n plus 1 to infinity n plus 1 to infinity take summation lambda inside capital lambda n is a double summation h x h lambda of x prime minus h lambda of x square okay what happens to this summation this is n to infinity i as it is lambda i as it is h lambda of x prime square plus h lambda of x square okay so squares or difference is less than equal to square you know square of each individual term so that is a very rough estimate actually but that is enough because this summation these are positive things okay though this is maybe infinite when lambda equal to lambda and this is finite when actually okay then we might we can separate them out if you if you take the first summation this n to infinity is to be less than 1 by n square by choice this also less than 1 by n square for each x prime x this is the property that we have chosen okay so that is twice summation and n plus 1 to infinity 1 by n square each of them is less than epsilon by 4 so twice that is less than epsilon by 2 okay thus it follows that u is the required neighborhood of x so guess if you take sum together this sum square is less than epsilon by 2 plus this sum sort of square is less than epsilon so we have instead of showing the epsilon square we have shown that it does not matter it should have been square root of epsilon start at it okay so this proves the continuity of h and thereby the theorem is low okay so here are a few exercise sorry one exercise here it is not very difficult at all every matrix space has a sigma locally finite space okay I have put already as exercise and I have put it as separately in the proof somewhere I should prove this one as an exercise remember so I have separately mentioned it that is off maybe in the earlier theorem never mind so there are many problems in vectorization like you may talk about when can a topological space be a given a metric which is complete such things are called complete materialization we shall not be able to discuss such things which are too special okay thank you


Good afternoon, folks. This is Steve Rhodes coming to you live from the shores of what's looking like even more sunny Delray Beach, Florida. I think it's time to go hit the beach. But before we do that, let's give you your 2 p.m. update. All the U.S. indices trading the downside, Dow's off 22, S&P's off 5, NASDAQ 100's down 10, Russell's off 7, Summary's down 3. So that's basically not much going on there. Trainings are off 68, Gold's trading out at 17.42. That's up 3 bucks. Formed a TD9 count pattern a couple of days ago. That bottom should hold. Silver, the same pattern out there. It's up 6 pennies. Lightspeed crew that formed a currently buy pattern a couple of days ago. That's trading out at 104.57. It's up about 80. Natural gas is back 22 pennies. A 30-year treasure which formed a currently sell pattern is trading lower. It's off by 1.17.30 seconds. 136.28 is the print. Let's go spend a little time taking a look at our cash-indici charts out here. See what they're communicating to you and I. And in the upper left-hand corner, we're going to start by taking a look at the Dow. Here's what we know about the Dow. It is trading above its oscillator and change line. It has a daily buy the D-point pattern. It has a weekly roadsman to indicator bottom. This should take price at least to the high from June 28th out there. If it takes out that swing point, which is up at 31, 885 bubble, we will form an A to B equal CD to the upside. If we take a look at the S&P, I suspect that's what's going to happen. The S&P 500 needs to close above its high of 39, 45, 86. Doesn't have to do it today, but a close above that will generate an A to B equal CD pattern and take us higher. The NDX 100, it just needs to close above the June 27th high. That high out there is 12, 175. We're trading at a 12, 0, 88. You close above that, you've got an A to B equal CD to the upside. The Russell 2000, it's taken on its swing point from June the 28th. That high that it needs to be able to get above is at 1792.60. The semiconductors yesterday generated the buy the D-point pattern. Did that when it gapped up to the upside out there. You got a TD9 count on the Dow transports, NASDAQ composite, has a roadsman to indicator bottom, TD9 count on the New York Stock Exchange. These are all the daily time frames. Each and every one of these have a bottom panel, bottom pattern out there. Anticipate, expect a rally that lasts at least through next week, most likely through the week after that. So folks, stay tuned. Your favorite polar bear, David White's up next. Tom O'Brien, he'll take us on home and I'll be back with you at 1 o'clock sharp on Monday. Be safe out there. Have a great weekend and we'll see you then.


This is Kristen Lays, and I'm with Heritage Preservation. And Heritage Preservation has been hosting the Connecting to Collections online community starting this summer. And it's a project we're doing with the Institute of Museum and Library Services in cooperation with the American Association for State and Local History. And as you heard from Mike, Learning Times is an organization that's helping us with the design and production of the website and also these webinars. So before we get started, just to let maybe some more people join, I'm going to put out a poll about how you heard about today's event. Just wanting to see what we might do to encourage more attendance in these. And we're starting to do some evaluation. We've had our fourth webinar event with an expert. And we're planning more as we go into the fall. So look for information about that to come. We just wanted to see how people are finding out about us. So we'll leave that poll up for just a second. But it's been a great opportunity. The online community has now over 470 members, which is great. And we are planning a more extensive PR campaign at the end of the month. And so we welcome you to tell colleagues about it. Looks like you're already sharing information and have maybe participated in one of our previous events. So we encourage you to do that. You can also join the Connecting Collections Online Community Facebook page. If that's an easier way for you to get quick reminders or hear what's going on, that's another way to hear about us. Well, great. Well, thanks for participating in that poll. We will take all of that into advisement. And then just a little icebreaker, so to speak. Today we're talking about photo cold storage. And probably it's pretty hot where you are across the country, except for maybe our participant from Juneau, Alaska. Just curious what kind of ice cream you like.  Please don't do that. But just a little icebreaker to see how we all. So we're coming across the country, see how we all might compare to one another. Boy, strawberry just can't get any votes. Oh, yeah, here we go. Here we go. Seeing a lot, I'm originally Hale from Atlanta. I see a lot of other Atlanta colleagues on the line. Maybe peach is an option for them. And frankly, I tend to go for some pretty exotic Ben and Jerry's type flavors myself. Well, thanks. Well, without further ado, I think I will start our featured presentation today. And again, this is the Connecting to Collections online community. And the goal of the community is just to help smaller institutions, libraries, archives, and historical societies quickly locate reliable preservation resources and have a chance to network with their colleagues. We're drawing on a lot of the resources that the Connecting to Collections initiative that IMLS initiated. And that was included an online bookshelf of resources. And you'll find on the website all sorts of links to that. And then every other week or so, we've been having a featured resource. So obviously, today's featured resource is the National Park Services Cold Storage online video series. And it's a guide to long-term preservation for photographic materials. And you can set your settings on the online community so that you'll get updates when that featured resource changes or when we have discussion topics. So look under that Help button if you need some assistance in knowing how to change your settings for the site. Keep an eye out on our calendar for upcoming webinar events. And we also will post things that we think are of interest to the community, such as upcoming workshops or grant deadlines or other such items. If you have something you would like to share with the community and post on the calendar, you're welcome to email us through our contact link. So feel free to do that. And today, we are very fortunate to be joined with by Teresa Vollinger. She is a paper and photographic conservator from the National Park Services Harper's Ferry Center. She stars in their Cold Storage video series. And you may have been familiar with it for a while. You may have seen her there. And we're just very happy to have her today. This is part of a partnership, actually, that the online community has going with the National Park Service. There's so many excellent resources that they've developed for their staff and for their entire network across the country. And the rest of us who are not affiliated with the Park Service are so fortunate that they make these things available free and online, and that so many archives can benefit from this great information. And this resource is no exception. So again, this is just a screenshot of the resource we're featuring right now in the URL. You can watch it in the flash version, or for whatever reason, that's not possible on your computer. There's a non-flash version. But the flash version is great, because this can be a bit intimidating to sort of understand how to package, store, monitor, and access photographic materials in Cold Storage and just having some simple presentations on how to. It's, I think, such a great way to really come to grips with this topic. But we are so fortunate to have Teresa with us. Welcome, Teresa. Thank you, Kristen. And as Mike said, in that left-hand box in the Q&A, you can go ahead and type in any questions you have for Teresa on this topic. But otherwise, I will get started with just some general questions that I had as I was reviewing the resource. So Teresa, I mean, maybe this is really obvious, but your website makes it clear that only film materials are suitable for Cold Storage. So I'm assuming then any kind of tape-based materials like videotape or audio tape that's not appropriate for the kind of Cold Storage you're discussing here. Yeah, that's right, Kristen. We actually developed this project specifically for film-based photographic materials, although other types of photographic materials can also benefit. But just for the Park Service standpoint, that's specifically what it was organized and developed around. But materials that are magnetic media don't do so well in a frozen state. There just hasn't been enough research on it quite yet in terms of the magnetic tape itself and the other components that make up the cassette itself, the plastic, some metal components. So it's not really advised for those type of materials. And in the website, there are a couple of pages which kind of outline what you can identify in your collections that are best stored in Cold Storage. Great. Do you want to just outline a couple of examples of them? Like they're most common that just pretty much everyone would probably have in their institution? Sure. Any of your film-based materials, which would be negative, black and white and color negative, mostly things we focus on things that are cellulose acetate. Cellulose nitrate negative should also be in cold storage, but they have really specific requirements because of their flammability. So those need another level of storage environments in terms of the type of freezer that you choose and how you handle them.  Slides are particularly important because slides are almost one of those things that's a double whammy, so to say, because their film base is cellulose acetate and their color. So they have two things. Their film base isn't very stable and their color, which I'm sure all of you who have slides at home from 20, 30 years ago have noticed color shift in them. Not all of them, depending on the type of film, but the slides are very important. And I know almost every collection I've ever seen has some sort of slides. OK, great. And so you on the side, I think, do a great job in sort of outlining some strategies on how to identify the type of film you have. So basically, it seems like that the age of the material is a good guideline for trying to understand exactly what you might have. It is, and it isn't. You can make a divide on manufacturer sometimes, especially the cellulose nitrate that kind of went out of manufacture in the early 1950s. But some people were still using it. They have old batches of film, and they're not going to throw it away, so they would still use it. So it's a combination of, like you said, age and a combination of just visual appearance. Things you can look for or identify it on our site, different edge markings. Some edge markings were put there for the use of the photographer. Some were put there just to sort of identify the film. And you can read on the edge. It'll say, safety film or nitrate. Nitrate would be the cellulose nitrate film, which is older film. And that's the one that has some flammability issues. And then they eventually developed the cellulose acetate film, or quote unquote safety film, because they realized that early on. They realized that there were issues with this film. And that's why early on, and I think it was captured recently in a movie. I can't remember the name of it. But they show a fire in a film house. And that happened because of the flammability characteristics of nitrate. And it tends to ignite at a fairly low temperature. It can ignite at like 120 degrees Fahrenheit. Somebody's attic can be that warm. And especially right now, our e-codes. Yeah. So a cinema paradiso? Yes. Yes. Isn't that? And the fires are very hard to put out, because cellulose nitrate, when it burns, it produces its own oxygen. So you can throw it in a bucket of water and it still can burn. So that puts the danger about it and why it's considered a hazardous material. And does the site go into detail on this nitrate and the specifics? As you said, there's another sort of consideration when storing that. You won't get into that much? Yeah, it goes into it a little bit. Because this project was designed around our acetate films, the Park Service a few years back had taken care of a lot of its nitrates. And what we had done with a lot of those, because they were in serious need, is do duplication and digitization of those. Right. So this more focuses on cellulose acetate, but in terms of how to store it, but it does go into identification characteristics of each one. Each one does deteriorate in a different way. And they're very distinct on how they deteriorate. And so on the website, there's some great visuals that just show you, OK, this is what serious cellulose acetate deterioration looks like. This is what serious cellulose nitrate deterioration looks like. So I think that helps a lot because sometimes you don't know the year of the film, or sometimes it doesn't have edge marking that you can tell what type of film it is, and you want to be able to store it properly. And but luckily, when it comes to film, unlike other branches of photography, it's pretty simple in terms of your choices for film base because there is only the cellulose nitrate, and then more recently developed in the 1960s polyester. So it's nice that it's simple and clean like that, but there's only a few choices anyways. And all of those are identified and the differences in them. The polyester film base material is fairly stable. And so if you have a black and white 4 by 5 negative, often in museums that is a copy negative or an interpositive that you get made for a archival copy. And that's very stable because your film base is stable and the black and white is stable because you won't have a problem with fading. So those type of materials are the one thing in the film world and photographic film world that really doesn't need cold storage. It's pretty stable in your normal archival environment. Great. That's good to know. I think most people, I think the word has basically gotten out to most people about cellulose nitrate. I guess the fear that I've seen sometimes in discussions is that people will panic if they realize they have a complexion.  So would you would say if you're worried about it, you should contact a photo conservator first?  But is that maybe taking it a little too far too fast? I think so. Probably it doesn't have. I mean, especially if it's in a controlled environment, if it's in museum storage already, and depending how much you have. If you only have 10 4 by 5s compared to 4 5,000 4 by 5s, then you have something you have to think about if you have the latter end of that scale. But if there's only a few, it's just an awareness. It's just to be aware that you have it and that you can take special precautions if you need to and to kind of know what those are. Right. So OK. Well, great. I see we have a question that's come in. And again, to the participants, feel free in the Q&A box on the left-hand side of your screen. If you have any questions for Teresa, feel free to pipe up. And Carolyn in Florida said, if you freeze photographs of vinegar syndrome, will it slow or halt the process? That's a great question, Carolyn. And is everyone aligning? I can just kind of ask. I don't know if I can do a quick poll or whatever. Or just have people think about if people know of vinegar syndrome or have heard of it or have experienced it in their collections. And Carolyn, that's something that happens pretty much early on as cellulose acetate films start to deteriorate. And it's a really good indicator that your collection is right on that edge of starting the deterioration process. Because it's kind of the first thing that happens before cellulose acetate starts to deform or starts to distort in any manner. You start to get that smell and you open a box. And literally, for people who aren't aware of it, it smells like vinegar. You will know when you open that box that something is going on. And when you have that, you really want to consider cold storage very soon for those types of collections, because they are starting. And yes, it will slow it down. It will not halt the process, but it will slow it down. And that's one of the reasons that we do cold storage. It's the only thing that we can find that's going to slow down with any success, any sort of deterioration process. There are some great resources on the Image Permanence Institute website. And I think Kristen was going to maybe refer to that later. In terms of time frame and gain of longevity of film, that's cold storage versus just keeping it in normal environmental conditions for museums. So that's a great reference. I mean, it could add hundreds of years of life to your film, even if it's at the stage where it has vinegar syndrome. And it seems from the research that IPI have done that once the vinegar syndrome starts, deterioration starts kind of rapidly increasing. If you looked at a graph of it, of deterioration process in film, it'll be trucking along nicely in normal conditions for about 40, 50 years or so. And then all of a sudden, when you get to that one point where it starts to deteriorate, the graph will just go up at a steep angle. And it will be a matter of five, 10 years if it's not taken care of, that deterioration will increase that much. And so if you have discovered it, you open that drawer and, as someone once said to me, it's now like dill pickles. Exactly. Is there any hope for duplicating those materials at that point? I mean, duplicating. OK, so it's still not harmful to try to duplicate it? No, absolutely. And that's a really good point, because it's a really good time to consider duplication, because that is usually the first thing that happens. And that's prior to it starting to distort. Psyllium acetate has a really quirky way of distorting where it gets this thing called channeling, where the emulsion and the acetate are expanding and contracting. And the acetate is losing plasticizers at a different rate than the emulsion. So you get almost these creases, and there's some good pictures of this on the website, that Park Service website. So the creases where the acetate is bubbling up almost make it really hard to get a good scan, especially in transmitted light if it's a negative, because you have all these lines that are running through your image. So if you get your scanning done before it gets to that point, you're going to achieve a lot better results in that. Right? So I guess also lesson learned that you shouldn't break with your collections language. Check on them, even if you feel like they're re-housed appropriately. So well, Debbie Rossi and Shelton, Connecticut, has asked a question that actually I had as well. I mean, I think one of the greatest parts of the website is it shows how much you can achieve with just a commercially available home type freezer. Because especially for some of the institutions who benefit, or we want to have benefit from the Connecting to Collections online community, pretty expensive specialized pieces of equipment may be without that reach. But for several hundred dollars, a home freezer could actually do quite a lot for your collection. And Debbie was specifically saying, is that cold enough for nitrate? And you had to reference that before, not quite. Yes, well, it is. A home freezer, and that's actually what we use for the park service. And we have used them in a number of different sites for exactly some of the reasons that you just went through, Kristen, it's very expensive. We have almost 400 different locations with collections. Some just don't have the space or the staff, as I'm sure a lot of you can understand time to work on this. And so just obtaining one freezer, usually people have enough space for that. And certainly just the top of a home freezer unit, if that's all the space that you need, that's just fine. The only thing, Debbie, with your question is I really wouldn't recommend that for nitrate, because it would be more of the cellulose acetate. Because cellulose nitrate really needs what's called a flammable storage freezer, because of that flammability issue I talked about before. But certainly if they're on the edge of deteriorating and you're trying to make a game plan, it's better for them to be frozen, even though they won't strictly be following fire code. And that's the problem when you get into with museum environments and storing cellulose nitrate films. There's certain fire codes that need to be followed.  But on the website, there's a lot of references to what to look for in a home freezer. Frost-free is definitely recommended. Many of the freezers that we've purchased in the Park Service are just, I don't know if I can give a name brand here, but Sears Freezers, just a regular freezer, does just fine if you follow the normal and outlined packaging procedures that are on the website. Okay, great. And we were joking before, but no, you could not put your lunchery right in there too. Yeah, yeah. Kristen and I were talking about that prior to the call, and that actually is a good point because if you have a lot of different people in and out of that area, it's going to be tempting to want to do that. And so one of the things that we have on the website and our little list of things to look for is locking that has a freezer that has a lock on the outside. So, and a lot of them do come with that. So you can prevent the lunch situation from happening. And I suppose that's also good just for the security of the collection as well. Absolutely. Absolutely. Yeah, and I guess you're trying to keep the condition inside the freezer as stable as possible. People are popping open the door a lot. Right, you're not achieving that. That's just getting into another area, and we might be crossing into the issues of wrapping here, but we can just see. But she was just saying, what's the best way to control humidity if we're using like a restaurant or home style freezer? And she's asking about trays of silica. Well, that's a good question. And you really, what you want to do is we're not gonna try to control the humidity in the freezer itself, because we realize it's going to do what it does, especially if it's a frost free. You know, as it goes through that defrost cycle, it will cycle up. And we did testing for this when we were looking at our freezers for the Park Service, that normally a standard household freezer might be about 60, 65% RH, but then when it goes through the defrost, it can go up to about 95, just for a little while, like for a few hours as it's going through the defrost cycle. So because of that, and we know we can't control that, that is why we do the packaging that we do, the vapor proof packaging. And when we package the items, because we're trying to keep them very airtight and vapor proof, we make sure the room that we're packaging in has an acceptable RH, an RH that we're okay with. And we monitor the RH inside the packages with little humidity cards that we put inside the packaging to make sure that the boxes are maintaining the RH that we packaged in. And we did some initial testing on that just to make sure they were as vapor proof as we thought they were and put hobo data loggers inside the packages. And then data loggers just inside the freezer itself. And we noticed as the freezer went up and down like crazy throughout the day, the packages that were packaged properly only saw maybe a 1% change in RH, where the RH changed outside the packages and the freezer could be 30, 40%. So the packaging really did a good job of maintaining a microclimate, which is what we're really trying to do with that packaging design, to create a stable microclimate inside there that you can peek in and look at when you open your freezer door by looking at the little humidity cards that you can read through the packaging. Thanks, that's great. Sure. So why don't we go through those packaging steps, because the site does a great job. So if any of you have not looked at that video yet on the site, I think if you're intimidated by this idea of packaging, you will get all your step-by-step instructions from that lovely Teresa and her sister.   Yeah, sure. A lot of times, for example, say you have four by five negatives. A lot of museums have those or you have slides in binder boxes. You can wrap right in the storage box that it's already in. That's absolutely fine. One of the things that we do prior to wrapping is fill out any empty space in the box. That will just allow for less air to be inside the box, so more likely maintain that microenvironment in there. And also will allow, if you have to rearrange your boxes in the freezer and kind of put boxes on the side, it won't let collections shift inside the boxes. It's going to keep them nice and stable. So you just have your regular box with your label on the outside. And the first thing that we do is put a humidity card on our box. That's our inner humidity card. And then the first layer is the bagging system and the two-layer bagging system. The inner box is what's called anti-static shield bag. It's a vapor-proof bag. Similar in properties to things like marble seal. A lot of museum people use marble seal. Aluminum and plastic material that can be used to isolate things like wood and shelving that you wouldn't want to off-gas on to collections. So you have this semi-transparent vapor-proof bag that you wrap on the outside of your box. And there's a lot of instructions on making sure you get all the air out and proper sealing of the bag. And then you put another humidity card, indicator card, on the outside of that bag. And the reason we do two humidity cards is the one humidity card on the box is monitoring the inner bag. And the humidity card on the second layer is monitoring the outer bag. And so both of your humidity cards are, would these cards read from blue to pink? I'm sure a lot of you have seen them. If the whole card is pink, it means your humidity is way up there, you know, above 60, 70% of our humidity card ranges, I think range from 10 to 60 or something like that to the ones that we put on our boxes. So that's a danger zone. Usually after 60% is when you really start to get concerned with problems with humidity. So the outer bag is just, it's a archival polyethylene bag with a Ziploc. However, it's a little thicker than your normal kind of Ziploc bag, normal Ziploc bags of the grocery store, even two mil. This is six mil. It just gives a little more heft to the bag, a little more durability, a little more vapor proofness.  So there's some really great images of that whole process as a video of the whole process of how to wrap. And there's a lot of little quirks that you could run into when we even tried to put those on there. So if you have all this particular problem, we have a little video of solutions for particular problems with wrapping. That's great. I mean, in the Park Service, I mean, how long have you had materials roughly in storage? I mean, do you have to ever rewrap things? Is the plastic stay pretty stable while it's in storage? Yeah, so far this project for the Park Service winner fifth year. And I just went back and revisited one of the first parks that we wrapped, which was kind of fun. And all the boxes are doing great. I haven't noticed any change. And one of the things that we recommend in the video is doing that kind of monitoring, especially within the first year to go in and maybe quarterly, just take a quick glance at all your little humidity cards and just see where they are. And also, when you first put your boxes in the freezer, do a recording of your baseline of where you are, where all your humidity is at that point. So then you have a pretty good idea if you're seeing any change. Okay. And yeah, so far, so good. Everything has been really stable so far, so. And as you said, I mean, it seems like the system that you've developed in the micro-climate concept, that you shouldn't have much of a problem with sort of where a box is placed within the freezer or needing to rotate them or anything like that. Right, it should be doing its job as a micro-climate. Absolutely, absolutely. That's great. So we had a question about vacuum sealing. Mm-hmm. Do you have an option? You could do that to help get air out and also seal the bags. The reason that we didn't do that with the Park Service is that this is a service-wide project and we couldn't get everyone a vacuum sealer at every park. Right. And we wanted it to be easy without a lot of equipment and just anyone could do it anywhere. And some of our parks are pretty remote. And so we found when we did experimentation with sealing the edge, either heat sealing it or vacuuming it out and sealing it, the effectiveness was the same. We had the same results no matter how we closed it, as long as we sealed it really well and were careful. It didn't seem that there was a great advantage, except for probably quickness in terms of the vacuum sealing. But for cost and maintaining those in all the parks would have been a lot more expensive. So that's the reason we went with them. When you watch the video, we just kind of roll the ends and tape them up. So that's the reason we went that route. Great. So again, if someone has it, terrific. But it's another savings in terms of the vacuuming project. Absolutely. Absolutely. Absolutely. And that's why I think the video is good for small institutions because it really focused on simplicity and affordability. Great. So now we're getting into. We had some questions from Rukshana in Los Angeles. And you and I talked about this before the webinar, getting into access. And as we were talking, it sounds like they're in the same situation in LA. You are compelled, say, by the video, to get your things into cold storage. But then you always had that project. You were going to digitize all these things. And maybe you haven't yet. So I guess there are a couple of questions here. How do you sort of plan ahead on a project like this and then say you need to get into those boxes again? Can you talk us through how that's done? Sure. And as Kristen and I were talking a little bit today earlier, this is an important topic because, of course, your collections and access is going to be important. And a couple of those things, especially the film-based collections, is that we find with the Park Service collections that if we have researchers or whatever that wants to come in, if we have print copies, that's usually fine. And we never need to take the negatives out. Or many of the collections just aren't accessed very often. But if they are, we do encourage them to digitize them prior to cold storage. Or if they're unsure, it is OK to take them out a few times a year, not much more than that. Research that, once again, IPI did kind of says that if you take them out more than one or two times a year, you're losing the effect of your cold storage. So what practice we've been doing in the Park Service is if you find you're taking something out, take that time while it's out, if you can, to digitize it and then put it back in. And then at that, many of the Park Service collections are so large, they can be 20,000 objects. To take that time to digitize everything before they went in would just be more time for them outside of cold storage, giving them time to deteriorate. So we're kind of putting them in spaces for a while. Packaging them up, putting them in spaces, and just waiting and seeing how much use they get in some instances if you're unsure. But certainly for high-use collections, I would recommend doing some digitization before they go in. Or at least, as you said, at least make sure there's print access copies. Exactly. If there's a print access copy, there's different ways around it. Yes, and that is correct. I just noticed the bottom part of the thing. It does take some time to unwrap. And it does take some time to repackage them. So you want to think carefully before you start wrapping and packing or before you start taking things in and out. Because it is time-consuming. It takes 5, 10 minutes per box to do all the wrapping, so. Right. And then how do you acclimate? Something's been in a cold environment. Do you need to take steps to acclimate materials either in or out of cold storage? Yeah, definitely. And that's another one of the reasons that we do the packaging to prevent condensation on the film. So what we recommend is, and this is kind of hard sometimes, because you need to think in advance a little bit, which isn't always easy.   That can be difficult. So that would be the only problem if you were limited in time. But usually we recommend if you know you want to access a certain collection, you know, the night before you leave, take the box out, let it sit out, let it just acclimate with its packaging on. So it's acclimating back to room temperature very, very slowly. And then the next morning, you take that packaging off. And you're going to have your condensation on the outside as a plastic, but not on the film materials inside. Great. Well, I think another follow-up that Luchana had was, you know, so this is like a long-term storage thing. But it also seems to me it's such an effective storage technique that would you agree it's sort of worse people maybe upping this in their priority list of all the many collections. If they have a significant amount of film in their collections, I may know it's the cellulose acetate, especially. You know, so they're long-listed to-dos, digitizing or putting things in a cold storage, especially since, you know, in the grand scheme of things, it's relatively affordable to do. What do you think is better? Is it better to prioritize getting the stuff into storage? If you have, I guess, a decent amount of access material? Or is it better to think about, no, we just don't want to take it in and out and in and out. Well, I definitely think it's better yet to probably get it into storage just to have time to think. It's going to give you that time. It's almost like disaster response kind of theory. Freeze it and then think about it. Because, you know, sometimes you just have too many things if you've ever been a disaster to work on at once. And so if you freeze it, it's going to hold it in spaces for a while. So I think that's probably the better choice there, I would say. But yeah, I mean, it really is something to think about that's going to be permanent.  But usually we start with film-based materials, films that are right around 50 years old or so. Now granted, there's a great variance in how they were stored in the past. But those are the ones that right around that time start to deteriorate. And so across the park service, across the board, we have a lot of films from the 40s and 50s. And so there's so much on that edge at once that our solution was just put it in cold storage and we can think about it, about a different strategy later. Because who knows later? I mean, even if you digitize now, what type of reproductive digital media is going to be available 20 years from now? Maybe something even better, more archival. So maybe you wait for that. Hard to say, right? That's true. But actually, now that you've mentioned disaster preparedness, I've got another question. So again, to the microclimate achieved by the good packing, if you lose power and your freezer is about power safe for the weekend, again, will that microclimate sort of buffer you a bit in terms of something like that? Absolutely. Absolutely. It'll almost just be, I mean, if you have a freezer full of thermal mass of that freezer, it will probably last a good long time as long as you don't open it up. But also, it'll allow it to slowly acclimate, just like you took it out of the freezer and put it on the counter for eight hours or overnight. It's not going to be getting any condensation or anything, even if the freezer on side is sweating and dripping. If your package is really well, you should be just fine. It's just going to slowly come up to room temperature. And I suppose, given two scenarios, one in which your institution has not taken a step and has not put film in cold storage and they lose power for the weekend, and the age of access to them in the building is way off the charts, for God forbid, you're in a hurricane area and you really don't have even access to your site and high humidity. Again, I guess the cold storage is just another level of protection against an unthinkable situation. Yeah, that's a good way to think about it. Yeah, it is. And then a great question from Per Contas in Cincinnati. So are there monitoring systems that you know that sort of alert to freezer misfunction or humidity distress? Yes, we do have. There are some data loggers that you can get that will monitor and can alert staff off site or within the building. Some of the freezers, even the household ones, have little alarms like door jar kind of things, which aren't great, but they're better than nothing.   But I think those are even changing in terms of their technology. OK. So that would be something you'd buy separately from the freezer? Yes. Glass plates are touchy depending on what type of glass plates they are. Usually glass plates that are collodion, if you know if they're collodion versus gelatin, collodion do not do so well in terms of being in cold storage. There's often problems in the past with the emulsion popping off when you're dealing with collodion materials. And also, a lot of the glass plates are black and white, and they're on glass, which in itself is quote unquote relatively stable. So unless they're a color material, they're not as vulnerable as the film, because the film, it's the base itself that's the real vulnerable part, requiring the extreme of cold storage versus just good museum environment. So in glass plates, you do relatively well just fine in terms of just being in your regular museum storage environment. That's great. And then up on the screen now, you can still see I have a link to some of the Image Permanence Institute references. This is just a handful of some of the things on their website. But if you're a participant throughout there, so you have questions or concerns, I mean, these are very easy to use, resources, and we'll tell you right away that the IPI media storage quick reference. I think they have even a wheel format. We'll tell you right away what sort of things you should be thinking about. Yeah, those are excellent resources. And I think we have links to those, too, through our video and our tutorial on our website, too. And there's a lot of resources linked to that. We kind of tried to structure the actual DVD or online version with multiple layers. So we have the videos for quick overall information. And then it goes deeper into reference materials. If you want to know more, and kind of just different layers of how much you want to know. So there's a lot there. That's great. And does it get into how you can find some of the materials you've referenced, like some of the archival and packaging materials, they have links to that as well? Yeah, there's a list of supplies and what to think about when you're buying supplies. We even have references, sometimes even trying to decide what size bags do I need. We even have references to that, what size fits, what size box. Obviously, little things are really important when you get into it. So try to cover from organizing your collections in terms of preparing them to go into cold storage, just in terms of getting them in boxes and getting them in some sort of outer container to purchasing the materials, to wrapping, and monitoring and access. So all those different subjects are covered in the tutorial. Great. Yeah, it's a really, I can't say enough about the site. It's really useful. And you also referenced it is available as a DVD, is that correct? Yes, it is. Ordering information on that same flash site, or is that something we should put up out on our? That's actually, we do have some here that would be available to institutions that we can send you if you would like a copy. You can just email me or call me. And I can see if I can get you a copy on that. There's no charge for the DVD. OK. Great. Well, we might just put up your email address here on the chat. Absolutely. You don't mind? No, absolutely. And while we're doing that, I guess back to the emergency situation. If the power goes out, or for whatever reason, you have a freezer malfunction, do you need to repackage? I mean, you talked about how the condensation is trapped between the outermost layer and the innermost layer of plastic. Actually, it won't be trapped between the two layers. It'll be on the outside. Oh, OK. It's out of plastic. Yeah, I think so. Sure, sure. And yeah, if it is trapped, then you have a problem with your outer bag. And we need to replace your outer bag. So no, you wouldn't have to.  I don't know why it would go wrong right at that point. But if it did, and your humidity cards are all pink or say above 60%, then sure, you'd want to repackage. But it shouldn't, because the packaging's not really seeing that. So you need to take a towel and just wipe off the condensation on the outside of the boxes. But other than that, I think you'd be OK. OK, I think you're right back in the freezer. Right, yep, yep, absolutely. And I see a question, another question from Debbie about taste images, tin types and daguerreotypes. Those you also wouldn't want to freeze, for a multitude of reasons, but some of the same reasons there's been that tape, because you're dealing with, if things are cased, plastic or leather, glass and metal, and then the photographic cells. So you're dealing with a lot of different materials expanding and attracting at different points. And that's where you can get in trouble in the frozen state. So I wouldn't really freeze cased images, like tin types or daguerreotypes. OK, thanks. But you know, that brought to mind the issue with slides. So slides are cased in some type of a cardboard type material or in plastic sometimes too. Is that an issue? No, no, it's not an issue. The film in that case, the film itself is exposed. And in those cases, especially with the paper ones, the paper is fine, because often our enclosures are paper. And paper is just going to expand and contract and let off moisture as humidity changes in the environment. But even in the plastic ones, there is space if the plastic of the little slide itself needed to move. But no, it doesn't seem to be any issue with slides, even with slides that are in plastic sleeves themselves in binders or in those binder kind of boxes or kind of old boxes that you can buy. They seem to do just fine in that case. OK, that's good to know. Yeah, I suppose in even those plastic slide holders, it's really the film is sort of floating in there. It's not moving. Exactly. It's attached, actually. Exactly, so. Exactly. OK, great. I'm trying to think, are there other points that you know are kind of common questions you've gotten as you've visited the parks or sort of any troubleshooting about what you have to work on? Well, I think the most concern, I think, is the access question that seems to be the most common thing. And I think the part that sometimes takes the longest, once you get down to the packaging, it's not so bad. But just preparing takes a long time. And I understand in small institutions, the number of people working on your site is limited. So you're going to have to make a list of what's going into cold storage, lists of things that you may need to access, what is where. Often what we'll do suggest, and this is one thing on the website that we show, is making a map of your freezer of what boxes on what shelf. And that's a really nice thing to do to help you keep track of what is where. And so when you open that up, you're not standing there for a long time, like when you're trying to decide what to make for dinner with the freezer door open. And you can quickly know exactly where that box is. So any issues, I think, involving access, because we understand, I think some of the parks feared when we came around with this cold storage issue that we were saying, that's the end of your contact with those collections. And that's not what we were trying to do. So you can still access them, just more on a limited basis. And so actually, that brings up a point about labeling those boxes before you put them in there. I mean, you can pretty much see through the plastic. So you can like take the box itself. Exactly. And not use any kind of adhesive label or anything like that, I'm assuming. You can use adhesive labels or write in like black, India ink or something, just the vapor proof bag, the inner bag, it's only semi-transparent.  And one of the reasons we chose the one that we did are other barrier films that are similar to it are completely opaque. So that's an issue, because you can't see the boxes at all. And even if you could put a label between the two layers of bags, there's something really, I don't know, something really wrong about not being able to see your boxes that makes us nervous. So that accessibility, just to be able to visually see your label, whatever they may be, do that semi-transparent vapor proof bag is a really nice thing. Because otherwise, you just have that urge, like, what is going on under that inner bag? So yeah. OK. Another question coming in on sort of appropriateness of this technique for different kinds of material. So what about motion picture film? Does it matter if it's color black and white, acetate, polyester? Do you leave everything on the metal reels? Yes, it is appropriate for motion picture film. And yes, we found that it's fine to leave it on the metal reels as long as they're not rusted. You can even use your older film cans to package them in. As long as they're not rusted, they do just fine. And I see she says, apply equally to color black and white, acetate, polyester. Yes and no to that. Apply equally to color in all instances. Yes, no matter what the film base, even if it's polyester, if it's color, you're going to get fading. Black and white, you don't have to worry about the polyesters, just the acetates. If you have black and white and polyester, you have two very stable things. And those two things in combination only require just normal archival conditions. Right. And that's, again, just like the IPI media storage guide. Yeah, I mean you've got limited time to do this kind of packaging. Obviously, supplies cost something. You might have limited room in your freezer. So it's good to sort of have a hand on what really is going to benefit from cold storage so you can prioritize accurately. Right. So let's see. We also have a question about negatives in sleeves and then also then nitrate negatives in sleeves and then but also just some more information about the sort of archival materials and plastic pages. So I'm assuming that you want any kind of plastic sleeve or plastic pages to be the highest quality, archival-y, safe, polyester-lean type of material to begin with. Right. If you can and you're doing your film-based media is not housed currently, then sure. Choose the best quality materials you can. And plastic is fine. Plastic or paper is fine. But truth be told, for the Park Service, we had so many that were already rehoused. And like I said, I don't have to bring this up again, but sometimes there's 10,000 in paper enclosures, let's say, that may be slightly acidic because they've been in those same enclosures for 25 years. Well, we don't have the staff to re-house all of those. And if we did have the staff to re-house all of those, it would probably still take a year and a half to re-house all of those. So talking with various photo conservators about this, we all kind of agreed that when we put something in cold storage, not only is it slowing down the deterioration of the media itself, but it's also slowing down deterioration of everything else. So your acidic envelopes aren't going to have the same effect as they once did in just normal storage conditions. So oftentimes, if we have a whole box that are in semi-asidic envelopes, we'll just package them that way to get them frozen and get that deterioration slowed down in terms of everything, every type of material that's going in there. Great. So again, another way to prioritize when money is in short supply, time is in short supply. Sorry, you don't have to re-house everything if you just down, because everything is going to slow down at that point. And I saw someone ask them a question about nitrate negatives individually housed. Sure, nitrate negatives can be housed the same way as cellulose acetate negatives. They will still deteriorate, but much more slowly, so the off-gassing will be much slower. But once again, the nitrate negatives need special storage freezers. Great. Let's see, Dan, she said, OK, so just more questions about the storage materials. Yeah, if you're just re-housing, yeah, it's best to go ahead and use some good quality plastic sleeves. And the sleeves are fine. It doesn't seem to have any problem, because you have your microclimate in there with condensation on the plastic between the plastic and the slides or anything like that. Great. Well, everyone, we're in our last three minutes. So if you had a burning question, this is a good time to type it out. And as we mentioned, this whole webinar has been recorded, and we will get it up on the Connecting to Collections Online Community site. Maybe today, if not very soon, in the next few days. So if you have a colleague or someone you think might benefit from this information, please feel free to point them to the site. And then again, I'll put the slide back up. The resource itself is here, and it'll be a link, too. It'll be up on the online community for another couple of weeks. But certainly, anything we feature on the online community site, we archive. And there is a link on the Topics menu, two-care photographs. And so you'll get references to this, as well as a link back to this recorded webinar and some other resources that we've come across, like some IPI materials and yet even still more links. So feel free to refer people to that as well. And then I did want to say, in looking for a conservator, the American Institute for the Conservation of Historic and Artistic Works is a great resource. Just on their home page, they have a Find a Conservator link. And they can connect you with a photo conservator in your part of the country. And that's just a great way if you've got additional or very specific questions, if you need some consultation on how to handle a restorage project at your institution. It's great to have a conservator come to your institution or understand your specific issues that you might have questions about before you undergo any major project like this. I had a question from Holly in Chicago. Should you separate different types of film, especially nitrate, from other types of film when you're packaging them up? That's nice. Yeah, Holly, definitely the nitrates, if you can. I know it's hard sometimes to do ID on everything, but the nitrates would need those different freezers. So you don't have to worry about most of your films, which are sides and negatives and stuff which are most likely cellulose acetate after a certain year. That's fine to have them in the same boxes. But the nitrates have a little different requirements, so those would need to be separated out if you can. What about other types of films? I mean, is it boxed, or is it preferable to keep them segregated? For other types of films, there's only really only two other types of film bases besides the nitrate, the cellulose acetate, and polyester. And you don't need to be putting the polyester in there if it's color. And it's fine if it's color, polyester film, no matter what it is, from 35 millimeter film to slides to whatever, if you had different sizes of negatives in one box or something like that, that's just fine. OK, so even a set of slides or negatives in one box? Sure, absolutely. I mean, chances are people have a quantity of these kinds of materials they'll need at points of box. Full enough binder boxes, slides, or yeah, definitely. Definitely, but yeah, it's fine to store the different types of media together. Good. OK, well, I've put up on this page that we are doing in an evaluation. And my understanding is you should be able to click on this link. Mike, tell me if I'm wrong about that. At the very least, you can cut and paste this into your web browser, but we'd really appreciate any feedback you had on this webinar, especially as we plan other ones. And we have an opportunity for you to nominate topics that we might be able to tackle through these types of webinars. It's just a great opportunity to give you very quick and easy access to some of the great preservation experts around the country that Heritage Preservation is fortunate enough to interact with on a daily basis, and we can make them accessible to you all as well. So we hope these are useful for you, but we'd love to have your feedback on it. So I think we're just about at 3 o'clock. So Teresa, I just want to again thank you for your help and for all of this information and also to the Park Service for making this excellent web video series available to the rest of the country because all of the research you did and the firsthand experience that you had is really a great thing for us all to benefit from. So thank you so much. Oh, you're very welcome. And it was a lot of fun. I was glad to do this. And feel free to check out the site and also other NPS resources, like NPS Conservatgrams, which are also online. And we wrote three of them for this project in particular, and anyone can feel free to contact me with questions for the questions after this webinar. I'm more than happy to assist. So thank you very much for all and who joined today. Yeah, thanks. And I did put up your email address in the chat and also steal the questions. If you think of one later on, you can always go to the Connecting to Collections online community and just post it as a discussion topic. And we'll track down Teresa or some other expert and help you out. So thanks, everyone, for participating. And I hope you stay cool and have a great afternoon.


It's a five-star hotel with a private beach which you can see right here. And we found the tennis courts next to a black cat. Three months is how long I've been in Dubai so far. I'll be here at least a year maybe longer and I want to catch you up. Here are some of the places I've been recently which I will feature in this video later on. Click that i to see the entire playlist what you see behind me of all the videos that I've made about Dubai in case you missed any. Why am I in Dubai? It is for the freedom experience where I want you to join me. Come move to Dubai so we can make videos together and create a community of creators in a zero-income tax environment. In Dubai the government charges you nothing from your income. They only charge you fixed fees for operating a business and living here instead of a percentage of your income. I like that business model a lot more don't you? Of course only those of you who are paying lots of money in taxes will appreciate this but those are the ones I hope will join me here in Dubai so we can benefit from the zero-tax environment as well as creating videos together collaborating in a community of creators. Now let's catch you up on some of the sites of Dubai. Roll it! And we found the tennis courts next to a black cat. So they have everything here tennis courts basketball courts moving cool playground and a little shopping center care for pretty cool freedom family. They have some screaming girls half of them are ours and let's push push push push push push push push. Now what it's like to be young again right freedom family remember these times when you were a kid well for all those been a very long time I hope you will also feel this is precious moments with family friends and family babies and business growing together freedom family yes we are La Meridian that looks like a painting behind the actual hotel it's a five star hotel with a private beach which you can see right here and I am here for the first time meeting a friend and we're just taking a short break so I get to see the area around the hotel I'm quite impressed I did ask the hotel has maximum 50 square meter rooms there is no long stay there is no hotel apartments like where we're staying at now at the Pullman but the difference between this and the Pullman is well you get a beach with volleyball courts and swimming and kids pool which you can't see right now but it's all pretty impressive stuff and here we are this is Dubai and my experience here showing you videos of what I see so you can learn Dubai with me to decide whether this is something you want to join me at this is a place you'd like to move to and live and work make videos and all that fun stuff with George and the other the other community of creators we plan to build here in the city now we're at the transition park in Ram Ram which is right next to tennis courts this is a care for a mosque as well as a shopping center in this area which is really cool and it is getting dark I'm here with our baby Daenerys mother of dragons yes the same Daenerys storeborn storm born from Game of Thrones although she doesn't have three baby dragons with her just yet here in family we are now in Ram Ram here in Dubai this is a residential place and as you can see behind me it's got beautiful grass and residential towers there's a care for in a shopping center which we will visit soon but this is one of the many places that people live here in Dubai and we may move here or some other place we're still exploring where we should end up because our lease ends in February it is now December this is Christmas in Dubai this is the best time of year because it's the coolest and very pleasant it is in a desert but during December it feels like a warm spring in other countries I hope you may join me here in Dubai that's the whole point of my presence here I am a guinea pig I'm the first freedom family member that has decided to relocate permanently here for the zero income tax environment that Dubai offers you pay zero tax on all your income not just YouTube it's just how the government works here they charge you a fee instead of a percentage of your income it's the freedom experience join us let's have an adventure let's make videos together let's create a community of creators together if you're interested in joining me here just email support at freedom.tm your intention and we will get back to you for any serious inquiries basically how it works is you will come here I will set you up with an apartment place to live I'll show you around the city I'll show you where to buy bananas and where to go to watch movies and most importantly where to go to create videos like I'm creating a video right here click that I to see my current setup behind the scenes of how I make videos that will be a similar setup if you join me here that you will get and we will do this all together there's also a YouTube space right here click that I to see it a YouTube space is very special there's only one or sorry there's only 10 in the entire world one of them is right here in Dubai and it's a place where you can get professional camera equipment sound stages and people to show you how to use them for free YouTube lets anyone with 10,000 subscribers or more on their channel access they call it unlocking a YouTube space after that you're welcome to use it as per their schedule and that's one of the most exciting things to be living in a city with a YouTube space how many of you live near one probably none of you or if you're lucky enough to be near one you're one of the very few you so lastly all the questions about moving to Dubai are answered right here and I encourage you to click that I and watch that video if you are serious about the opportunity until then that is our mission freedom family we all help each other grow together as a family that is the spirit of freedom and my goal is to help create a career in this digital world for you and we're going to do that together we'll always do these things together freedom family I've always built this brand around family togetherness and helping each other so let's keep doing that forever who am I guys I am your Papa George your George Sunpai your Obi-Wan George Nobi and many other names you the beautiful freedom family has given me I'm the CEO and founder of freedom little freedom today for freedom and the freedom family and all the amazing adventures we're going to have in Dubai as well as everywhere else in the world where partners of freedom exist and freedom staff exist and well the spirit of freedom exists I am George and you've been watching till next time freedom family I'm George CEO and founder of this little freedom freedom for freedom and the freedom family click that I to partner with freedom and join the freedom family so we can all grow together you get many perks like position music you also get epidemic sound a lot of other access to royalty-free videos sponsorships and many things to help you grow just click the links down there in the description below to get involved in our community our forums our discord chat servers meet our graphics team meet our community team all of that on discord and the forums what are you waiting for get started and we will grow together as a family because this is the freedom family you are part of it we are all part of it and we're all growing together to get more George click that big F that will subscribe you to freedom central home of the George show and PewDiePie gave one of you freedom family a big shout out click that video to see the shout out and to see our new 3d sets for you and click that video to see what youtube recommends you watch next


because the very first step to improving your team or improving your brand is improving yourself. Do you want your brand to be better in 2024? Then you need to be better in 2024. And I can say that to each and every one of you, and you need to be able to say that to each and every member of your team. So let's unpack the three components of self-awareness that each of us needs to work towards heightening. The first are our habits, the things we do unconsciously, and the things we do consistently. Second is our mindset. How do you choose to view the world around you? And third is our focus, or what I'm actually going to call the ability to refocus. Because I don't know that it's a realistic expectation in today's day and age to have long periods of uninterrupted sustained focus. We just have too many things vying for our attention, many of which are on those devices that most people choose to be tethered to 24-7. But what we can develop is the ability to refocus the lens.


The city's ASU has insisted that Nigeria has no subsidy. The president of ASU, Professor Emmanuel Osudoke, spoke at the Alex Equeme Federal University in Eboni State. Osudoke wondered why Nigeria would be exploring crude oil for the past 70 years and can't refine the product at home. Recall that President Bolo Tunebo on his inauguration announced that subsidy is gone, a declaration that led to a hike in price and shortage of the product across the country. As said to your people at the Nigerian rates, not a dollar, there's something that's wrong. There is no subsidy. It's not a rocket science to build a refinery. When the country deliberately to maintain the one they have, look at the people that are being paid, Nigeria has spent big trillions of Naira in the past three years or so on a renovation and now when it's working, look at Niger here, Nepal, small countries have a functional refinery. There's something that's wrong.