Everybody forced here ripping 21 22 prison basketball choice 10 box number 11 to your random team style find the results anytime a latent sports cards calm in and ended a Lincoln chat currently right now Good luck everybody Anyone got any predictions from the break? I say we're gonna pull a Blue choice Steph Curry nice color match blue That's what I say so we got silvers in blue yellow greens are non numbered and as Cantor Celtics Keldon Johnson spurs Nets Nicholas Claxton Lakers rookie Austin Reeves and Celtics Paul Pierce I Not sure There's not enough info sample Moses Moody sensational signatures red choice for the Warriors Good place to start would be eBay though. That's what I would do if you asked me I would check Green or rookie choice Joe wise camp spurs six of eight Green rookie Is there anything similar as you can find on eBay? Maybe look for similar stuff and red choice Pistons Isaiah Stewart 79 of 88 Different grades slightly different cards. What's happening Vaughan? Much of the magic lose a double digits to the to the to the Lakers right now Silvers and blue yellow greens Kevin Garnett T Wolves Avery Bradley Rockets Donovan Mitchell jazz Kyle Kuzma wizards Rookie Jane Springer Sixers Red choice auto Rockets Eric Gordon Non-numbered got red choice Chris Paul to 88 sons and a Kyle Anderson Grizzlies on the Tiger Stripe Tiger prism Grizzlies non-numbered Chris Paul 45 88 that's that is correct Vaughan that is 100% correct Not just lose lose by double digits silver T Mac magic Duncan Robinson heats blue yellow greens now McCollum blazers Jordan Clarkson jazz Deontay Murray spurs sons Tom Guglietta auto non-numbered Red choice auto there. Hey Jordan pool Warriors pool party 37 of 88 and Tiger Alvaro Camino spurs Well, let's see something big now box for Silver Rockets Jay Sean Tate Magic Chuma o Kiki blue yellow green Jason Tatum Celtics Oh Shaper set Pacers Tony Q coach Bulls I said let's pull a big hit We're about to this is gonna be a Name a color match Green Jalen Green rookie sensational signatures boom one of eight Sang Yun P with the Rockets Huge card That is fire big Congrats Sang Yun P again That is awesome That is sick Red Time Lord Celtics to 88 and Red Blue Purple Bill Russell 15 to 15 Celtics That would be a good time to drop the insurance command Donchett 16 of the first Mavericks probably they're probably tired right now Silver ones easy Mavericks Terry's maxi Sixers Blue yellow greens spurs Brinn Forbes sons Devon Booker and Hawks Dominique Wilkins Blazers red choice auto CJ McCollum Red Blue Purple Blazers Damien Lillard two out of 15 nice low number Dame Lillard Going to Ben L very nice and Red Magic Johnson Lakers 11 of 88.  Luca has 16 the maps have 28 as a team. That's like that's still over half the points It's not good Because like Andrew Lug just gonna retire in two years. All right Silver is who Evan Mobley calves Great-looking Silver Mobley as well I mean, that's Henry's pretty darn good. There you go Cleveland T-wows melee Malik Beasley blue yellow green Hawks on Yeka Okangwu Thunder Derek favors and Franz Wagner Nice card magic Cameron Thomas red choice rookie auto Nets Nebula Raptors Gorin drug itch one-of-one That's what I'm talking about Raptors in on the action now taxi He'd not big time now first few boxes a little a little shaky Yeah, we're pulling it together now Big cards angel you have the pistons and the wizards Got Oshae Berset number 12 out of 88 for the Pacers All right, let's keep it rolling here Three more We had the green green Nebula drug itch I was a good box to that Silver Mobley was nice Yeah, I got an strong here strong. I read Silver's deer and Fox King's Stocked in for the jazz blue yellow greens the Baka Clippers Kemba Walker Nicks King's Davion Mitchell Nuggets red choice rookie sensational signatures bones. Highland Damn bones red for the Pacers Justin Holiday and Blue teal teal was D'Angelo Russell that one's 11 of 39 and the holiday is 83 of 88 Bones Malone two boxes It's Silver's Kings Terence Davis the second Rockets rookie Josh Christopher Blue yellow green Pacers TJ Warren wizards Kyle Kuzma Moses Moody Warriors Thunder red choice sensational signatures rookie Trey Mann who Lakers Taylor and Tucker 26 out of 39 and that's red Kyrie Irving 46 out of 88 There we go There we go last one It's hard to recap everything here. We'll just do the autos and then whatever we have magged It's hard to recap all the numbers because it is all numbered, but it's a quick break if you need to rewatch it 11 minutes right now All right God Silver Sea Web Kings Cavs Laurie marketing who has Been very improved this year Killing it with the jazz Blue yellow greys now composite Nuggets Lou d'Orte okc and Magic Jalen Suggs now an Iverson Signatures Three out of eight y'all Jersey numbered AI Philly big second tier hit going to Minsu K Green Jersey numbered AI auto Love it. Love it for the Sixers Congrats Minsu K again. I'm gonna drop that insurance like again. It's a big cards in this break Blue Kevin Durant 33 out of 39 for the Nets. There's a print line going across like his waist area there He's ballin this year though Beast and a red-choice rookie Santiago Dama 79 of 88 Grizzlies sec Again, just do the autos and then whatever we had magged as a quick recap for everybody We had Thunder Trey Man Nuggets Bones Highland Nets Cameron Thomas jazz John Stockton blazer CJ McCollum Sons Tom Gugliata Rockets Eric Gordon Warriors Moses Moody And we had that really nice Alan Iverson three of eight Jersey numbered auto for the Sixers Nebula one out of one prison parallel Gordon Draugage Raptors Yeah, that really nice silver rookie Evan Wobbley looks pretty good. I want to get that in a mag for the Cavs some other nice numbers in this break as well and sensational signatures Green Jalen green rookie auto one of eight My goodness, it's a big ones in there guys. Thanks everybody for filling that up Ten box Tuesday's basketball coming up in a couple minutes here Holy cow, man


In this tutorial, I'm going to show you how to create this super easy smokey eye, perfect for this time of year. So let's get started! As always, I've applied an eyeshadow primer all over the lid. If you don't have an eyeshadow primer, just apply your concealer all over your lid to work as a base. As my lids are a little bit damp and sticky from the eyeshadow primer, I'm going to apply this shade right here, which is a matte tone, very similar to my own skin tone. And I'm just applying this in the crease of the eye. So this is above the lid, working upwards towards the brow bone. What this is going to do is create a powdery base for us to blend over. We're then going to take our crease shade and apply this in the crease of the eye, blending over and back. As we've already applied a neutral eyeshadow, this will help with this blending process. So work this over and back into the crease, and then you can also bring this down onto the lid as well. With this smoky eye, your blend is so important, but it's also about layering your products as well. So this shadow is going to work as a base for our smoky shade. Now we can take our smoky shade and we're going to apply this with a flat brush this time. My flat brush is also slightly damp, and this is going to make sure that that dark shadow doesn't end up everywhere, but only where I really want to press the brush down. We're applying this all over the lid, focusing on the center, blending down and out. What you can do then is take a little bit of the product on your blending brush and just very softly go around the edges. Because we used a flat, damp brush, this really won't budge too much, and that's why it's important to go around with a blending brush to soften out the edges, otherwise it can look very harsh. Your blend is so important with a smoky eye, so keep your hand nice and light, and keep that blending going. Now I'm just going to repeat that same process on the other eye. Now you don't have to use a damp brush, but it will give the shadow something to hold onto, so they're really going to glide over the lid, particularly because we're using something with a metallic finish. If you apply it with a damp brush, you're just going to get a much more beautiful, glossy finish. But always remember to go back in with your blending brush and soften out any harsh lines. A little pro tip is to take what I refer to as a fade shade, so this would be something similar to the blush that you would wear with this particular look. So I'm going to take this shade right here, which is a matte tone, and just apply this in the crease of the eye, and this will just add a soft fade. And I'm also going to be using this as blush later. And then take a slightly lighter shade and just apply this on the inner corner, just to bring the smoky eye together and add some dimension. And for that really smoky look, I want to apply some black liner on the upper and lower waterline. And for underneath the eyes, I took that flat brush with a little bit of the smoky shade and just really applied that underneath the lashes. And then finished off with lots of mascara.  And this will just bring the look together. And then I'm going to line my lips, and I'm actually using a brow liner, because I couldn't find my liner, but it worked out pretty well. And then I applied a liquid lipstick in a new tone just to make sure we're not competing for attention with the eyes. And then there you go. That is the finished look. I would love to see you guys recreate this. I know that you can do it. It's very easy. Definitely let me know and tag me on Instagram if you do, at nadykadey, and I will see you guys in the next one.


to play with the language a little bit you know around a particular piece of art right I mean speaking out of term perhaps but ultimately like a community has that same fix the non quote unquote like the non artists I think have that same that same need that same desire for what we experience in training or what we experience in the process and in that way the community becomes an extension of the ensemble and I do think it's profitable I would argue that I think this brings up another point and ties back to language of this whole new field of social entrepreneurship and how kind of what artists have been doing for ever and that it's just two-sided it's doing good well there are books written about it making good but the idea is that this term social entrepreneurship can be wrapped around a business model that makes people feel like they're doing something sustainable for other communities which is still then a them-us relationship but it's also what artists have been doing in terms of investing in their own communities not just outside of themselves but as artists in general and making it an entrepreneurial at for sustainability so I think it's another way that this language is being re-envisioned or re-imagined that's excluding the artists another part of that question is that if you're we talk a lot about language with the money side of things but also part of what most of the people here are doing I've been unfortunately here the first half is you're creating art for an audience and we're talking a lot about the language for money but what about getting your art known especially what you were talking about with a project that you're trying to involve the community in how are you doing to service your art by not changing the language to reach broader I would say a broader community I was here I've been here with the whole time but but I remember we were talking about some years that we've really been in the community and I do remember the change and I'm wondering how the language language can, yes as we were talking about it doesn't do service because how can you make language fit what you're doing but I'm wondering how language not using it is also a service maybe that's a good point because and it's actually quite concrete in a way because each of us could empower or enlist our communities to invent language with us we had a community meeting sort of envisioning what could be the farm in 15 or 20 years with an actual farmer our neighbors and one of the people who was here said that she always felt that this was a center for idealism and that was not that was not part of my the language that I was using and I think it's interesting to put that task of language rebuilding in the community and then share I think we might be getting to the end of this but I wanted just to see if there's any last things Morgan or Carlos Mark I have a question if there's a big W is there a big B a little B yes there's a big question I started to see that that diagram and then I didn't know I think there's just a B and I don't think it's B or little and I think I actually I learned this from that film that was made about Dr. Nica about Chiquita Gregory and then I remember we was actually showing it in New York it was 150 years ago not so shocked looking in the mirror and it showed how Dr. Nica went out with their carts and horses and went into villages and they would say to the villages before the fall of communism would say to the villages if we perform for you we will perform for you in exchange we will perform for us and so Dr. Nica you've seen this film perform and then they turned to the audience in this village and said okay it's your turn and Chiquita Gregory turns homes in on a couple of elderly ladies who are sitting there trying to remember nursery rhymes because they wanted to sing the nursery rhymes and Staevsky stops the film and pointed at the two ladies and that's the reason we do everything we do is for this little moment to happen and I thought what's so great about that is that that answers the question do we put the garbage to the left or the right in the morning when we take it out it answers it is from that that every decision small or big administrative, artistic whatever it's all made based on that incredibly precise moment which is why I think there shouldn't be a big deal because I think that that would make a hierarchy that's not useful so value is what it is at that moment as it's being defined based upon the needs of the big W and the little W yeah I think it's just a little bit because it's got a little better I think because we should work with one like that I don't know I don't know what it is I'm thinking of the beat just turning like a clock and it depends on where it is and what access it's on and how you determine value because it's all about the work you're doing in the moment you do know I don't know and it relates to what you were saying about the Hawaiian way of using the words like what is value for you in the middle girl what was it before what is for me here what is for anybody because I'm thinking about living in this kind of like umbrella English dominated world which is kind of like the Latin the new version of the Roman Empire so so people speak English in Buenos Aires you know in Louisiana in Indiana and people speak English but they don't speak them necessarily and I think value is when you start speaking what you said about art when you are and that's really what we are here or I feel that I'm called to do I try to bring myself and bring some people into being themselves as well I'm tempted to throw in around this question of value we were talking about kind of am I right I was going to get water when I heard this we were talking about arts, talking about value as equivalency money is a equivalency and I'm a child of my mother but politically in a lot of ways I'm a child of the Zapatistas there's just constantly a quote or something in my head there's constantly a frame that goes there and one of those quotes that goes through my mind in this moment which I think relates to value which often times it's a question of is this more valuable than that there's almost immediately a jump to a hierarchy and there's this Zapatista quote that I'm sure is older than that political organization which says we are equal because we are different and so in that kind of puzzle there's this kind of question of are the very thing that makes us equivalent is actually our difference so I think that has something to get to this question of value how to produce it great thank you everybody thank you we'll take a break now we'll be having what's the story now we have seven attendance we'll be out under the 10th it's a it's a


Awesome. Welcome, everyone. I am Paul Figerberg. I work for Google, email and GitHub there, and today I'll be talking about how Zephyr accelerated a tool that we were building for testing external display support. So here's kind of an outline of what we'll be talking about, the problems that we were facing, what chameleon is to solve those problems, and how Zephyr played a very large role in helping the project be successful. And we'll also talk a little bit about open source. So our problem statement, we have hundreds of Chromebooks. We have thousands of monitors. We need to do external display compatibility testing, and this is a, it's an M by N problem, and both of those numbers are very, very large. We don't have the lab space for all of those monitors. Can you imagine the person whose job it is to go down the aisle of all these monitors and plug in the Chromebook, make sure it works, unplug, go to the next one, plug it in, unplug. Very labor intensive, subject to a lot of human error as well. And so to solve that problem, we created a device called chameleon. So what is chameleon? And the shortest answer is chameleon is a monitor. As far as the Chromebook knows, it is, it's just a monitor. It has HDMI, it has DisplayPort inputs, it supports multiple resolutions and frame rates, but unlike a monitor, we control exactly what chameleon will advertise to the source. And then it's a monitor that you can't actually look at. There's no panel on it. We don't display the video signal on the panel. We capture it to RAM instead so that we can do analysis on that and use that in our lab tests to test the interoperability and to identify graphics bugs and regressions in a scalable and reliable and repeatable way as well. And of course, this is the embedded open source summit, so chameleon is open source. So everybody always likes, I don't know, I like to see the hardware, maybe other people do, but here's the hardware, here's what the hardware looks like. It does, it operates as a standalone device, so ignore the PCIe connector on the bottom there, just pretend it's not there. You connect a DisplayPort and or HDMI from a Chromebook or other device. And there's this absolute unit of an FPGA that handles the video signals. There's also hard silicon ARM cores on there that are running Linux and interfacing with the lab network. And then down here, we have an embedded controller running Zephyr. So a high level block diagram view. We have a DUT, a device under test, and it either has a USB-C interface to HDMI or DisplayPort, one of those dongles. If the DUT has an HDMI or DisplayPort output, we can use that directly. There's a switching matrix to route the video signals. We have a couple different options for decoding. There's an HDMI decoder IC in there, or we can route things into the FPGA for decoding. There's ARM cores in the FPGA running Linux. We've got a daemon accepting RPC calls over the network, and then the embedded controller, or the EC as we call it, is running Zephyr. It's handling power supply sequencing. It handles the video stream routing. We monitor voltages and currents, and it also controls that HDMI decoder. So when I started on the project, the hardware designer had already chosen the embedded controller, and he chose an STM32, an ARM core, the F103 in particular, because it had a lot of IO pins that met the product requirements. So I have to work with that particular chip. Now, Chameleon's embedded controller has the same goals as an embedded controller in a Chromebook or in any other laptop. It's doing all those things that you need to do when the main processor isn't running or isn't running yet. But there's almost no common functionality between the laptop and Chameleon. We don't use USB power distribution. We don't have sleep modes for the main processor. There's no keyboard. There's no touchpad. There's no lid open switch. There's just really no significant intersection of functionality. So it's basically green field development. Now, in the Chrome OS group, we had recently started moving towards using Zephyr for the embedded controller in Chromebooks. So this was something that was already familiar to me. I'm like, hey, let's use Zephyr on the Chameleon as well. And Zephyr had support for the F103 already. So I grabbed a nuclear board off of Digikey. Am I allowed to pitch? It doesn't matter. Anyway, I bought one. I bought one and started experimenting. No worries about the RTOS, the drivers, none of that stuff. Just write your application code and move on. And that was really nice. It made board bring up very quick. So we had inter-processor communication. We needed to communicate between the embedded controller and the larger the application processor. And we've got to have these commands, these queries come down. We've got different requests coming in to switch something, to check on the status of a thing. And the only hardware connection we have is just a UR channel there. So any of you who have done any work on Chrome OS where you've had communication between the main processor and the embedded controller, you'd be familiar with the C commands.h. And it's also in the Linux kernel. So we keep these two files in sync. Being in the kernel brings in some additional restrictions that we have to work with. And so, you know, with all of this, we have messages, we have structures, we have to do byte packing and unpacking and all kinds of different things. I hope you got the ending in this right. All of the problems that you're familiar with in inter-processor communication, once we factor in all of the restrictions that we have because we're in the Linux kernel with these EC commands, it's actually a pretty good solution for what it does. But Chameleon is a new project. It doesn't have to share anything with the embedded controller. Do we need to do this the same way? The answer is no, no we don't. So we're thinking about this and we want to use RPC. And when I hear RPC, the first thing that comes to mind is big hefty system. There's a lot of resources, you've got network stack, you open up a socket, you're listening, all these things come in. It seems like a lot of effort for a little small embedded controller. And at this point, it's that F103, it's Cortex M3. And it seems like it's going to be pretty heavy weight to run that. So we're working with the Pigweed project at this point. And they've got libraries that we can bring in. So the Pigweed project, they describe their work as an open source collection of embedded targeted building blocks. And you basically you bring in only what you need. The libraries are mostly independent. Pigweed, for example, has a logging subsystem, but we use Zephyr's logging subsystem. So we just we don't don't bring that in. We we brought in the RPC library and then a transport layer. And it just it made it very easy. Now we did have to do some work to adapt it to Zephyr's build system with CMake. And we had to provide some kernel primitives, but that was a one time cost. And now it's benefiting anyone, anyone who wants to use Pigweed with Zephyr. And a big shout out to Yuval for the outstanding work that he did to make this happen. If you haven't seen Yuval's talk, it's a virtual talk, you should definitely definitely check that one out. So normally, again, I have preconceptions about RPC. The server is the beefier system, right? All the clients come in and ask one server. But in this case, the EC is actually the server because the Linux system makes the requests. So here we have a get video params call, it gets encoded into a protobuf. We HDLC encode that and send it over the UART. There's calls made into the HDMI driver to get the information about the stream. And then we assemble back the the details into a protobuf for response. And it goes back over the wire. So there's some references to our open source code for where we added the server and the the HDLC connection there. I'll have a bunch of links in here. And if you download the PDF from the conference website, you can follow all those links.  But we have a service for this HDMI decoder. We have our get video params method. There's lots of different fields in the response. Some of it's very useful for debugging. There's things like getting the TMDS clock, getting the pixel clock and custom enumerations for color format, so on and so forth. Again, the entire definition is in our open source repository there. So we had to had to do a little bit of tinkering for fixed size buffers, and then add it into CMake. And it was it was really that simple after the groundwork that that you've all put into that. So how does it work out? You know, the RPC compiler generates a whole bunch of code. And but that's not in your code base. So the compile fails. So you copy stubs into your generated code in from the generated code into your header and your source files. You run it again. If you add new protos, it fails again, you copy things over. This is this is the method that I adopted. There's probably a more. How would we say it? There's a better method to do that. But this is the one that I adopted and it works great. So I was like, okay, and just copy paste copy paste the stubs and fill in the bodies. So we fill in the implementation there, you know, the generated stubs just say, hey, I'm unimplemented. Right down there at the bottom. And so we fill in the implementation say, okay, we're going to get all of the details, we're going to start copying things over and and then return an okay status just to say, okay, here's here's all your information. So and then starting up the RPC server is is also pretty simple, not a lot of code. Pig, we provide some great examples for that. There's some global variables or static to the module, depending on how you want to treat those.  And and you're done. That was easy. So I want to talk about supply chain shortages.  So early 2021, there the ongoing COVID pandemic. There was a drought in Taiwan. There was an ice storm in Texas, where there was also a semiconductor plant. There was a fire at a renaissance plant in Japan. And there were some other events. And all of these impacted the IC supply chain. And all of a sudden, supplier said, you need to order one to two years ahead. And I'm thinking, well, I would have liked to know that one or two years ago, because I kind of need stuff now. The F 103 just became unavailable. There were no lead times quoted, you know, I would have been happy to have a one year lead time for that. But they were like, Nope, infinity. It's an allocation only. You can find some on the secondary market for $84 a piece for a little, little microcontroller. And that was just that was not acceptable. So ST was awesome. Shout out to the application engineers at ST. They helped us find a chip that was, as I say, almost pin compatible. There were there about four, four pins that we had to change. And it wasn't, it wasn't that bad. And my microphone is slipping. I'm sorry. Got my got my little microphone thing here.  But yeah, so it was a similar cost. It was almost pin compatible replacement. And Zephyr has support for that chip. So this is awesome. Ish, it's awesome. Ish, you know, that's great if we're starting a new project, but we already have a very large body of code at this point.   And and it, you know, we're kind of looking at that and saying, This is bad. This is very bad. Well, it turns out the answer is almost nothing. It took about two hours to make all of the required changes. And here are the actual changes that we made. And then we have commits there for all of that. So we changed the processor in the config file and the device tree, just like F 103 to an H 7 43 or 753. We got a little sloppy with that and I'll explain in a minute. The clock configuration of PLL settings went to the device tree instead of the config file. So we had to move those over, get a little small speed increase to 96 megahertz, even at 72 megahertz, we weren't really having any issues with processing speed. And I also, I believe we had to upgrade to a newer version of Zephyr at the time to get the support for that. So that was also part of the device tree change there. Update the metadata, we went from 96 kilobytes of RAM, which is actually still pretty large for an embedded system in my experience. Anybody here remember 8051s with 128 bytes or 256 bytes of RAM? 96 seemed huge. And then we went to a megabyte. And it was like, wow. So we update the the CMake file. And it's all good. We're just about there. Except we have to change things in the device tree. Some of the pin names changed spy bus pins had the word master removed from the part of their name as part of an inclusivity effort. And the ADC mapping was just a little bit different. These pins were still ADC pins, but they went to different channels. So if you notice what I've highlighted here pin PC to change from ADC number one channel 12 to ADC three channel zero. And that was actually the biggest part of the effort was just remapping those ADC pins that took most of the two hours. The rest of it was was just simple as a cakewalk. We could get a Nucleo H743 board.  And it works with an asterisk. It's missing all the other chips on our custom hardware, of course, the ADC inputs, the GPIOs aren't connected correctly. But the basic application is running. And we can probe things with a scope. We can make sure the behavior is correct. And it shows us we can move forward, making changes to the hardware. So we rework one of our boards to use the H753. You could get 753 chips and 743 eval boards. This was the the the chaos that was the supply chain at the time. And those chips are almost the same. The 753 has a cryptography accelerator that we're not using in chameleon. So we could use them interchangeably. And that's why we got sloppy with that 743 753 and some of the files there. But as I mentioned, the pinouts almost identical. Few small differences. So lift some pins, do some jumper wires. And then we load our code and we ran our tests. And it worked. And there was much rejoicing. Because this was basically this was a project project level extinction level event for the project that, you know, if we couldn't get the microcontroller and we couldn't change projects dead. And so that was that was just awesome. There was there was a lot of celebration for that. So we built the next rev of the hardware with the new controller, we deployed it in our test lab and with early adopters inside the company for testing as we're continuing to develop features. And we've been running tests in our labs for several months now. And this is an internal test report showing the different tests that we're running. And the I truncated all the board names up there to just the ABC. But you can see some of them are passing great, and some of them are not. But that's that's finding gaps in functionality. That's finding some bugs. And it's been really, it's been really helpful. And it's been an awesome project to work on too. So and now I want to talk about open source, you know, if you can't always get everyone on the open source bandwagon, you know, it's great, but not everybody wants to. And so sometimes we need to include closed source in our project. And we had this with a driver for a particular chip. Now, at first, the chip vendor wanted to keep the code confidential. And of course, we're going to respect that agreement. So we have to have a way for that. Now there is a there is a side note here that recently the vendor decided to open source all of that code. So that is awesome. And and definitely props to them for deciding to do that. But at the time, this was very close source code. So, you know, we're going to bring this code into our open source repository. We're grateful to the vendor for deciding to open source the code. Maybe your vendor isn't willing to do that. So set up your build, there's there's your changes right there to just pull in the code from a second repository, a closed source repository that you have. And my build works great. My build, working for Google. Outside of the company. It's it's broken for everybody else. Did I put this? Yeah, the builds just it's basically broken for the open source community, because they don't have this code. And the code links in to this, you know, just several functions in there. And it's like, okay, now what? So to solve that problem. At the time, we made a new version of the RPC methods in the open source code. And every RPC method for the closed source driver just says unimplemented, instead of calling into the driver. So now everything links, you lose functionality, but you can actually build, which is you know, the goal. Well, that's part of the goal. We'd like you to have all the functionality, which is why again, it's awesome. They decided to open source that code. So we had to do a little extra work in the make file. We're globbing file names. So we wind up with both versions of the RPC methods. And we just basically check, Hey, is the closed source code there? Let's use that in the build. If it's not there, we'll use the unimplemented version of those RPC methods. And it's actually because we're globbing file names, we actually need to remove the one we don't want instead of adding the one we want. But now everyone can build even if they can't access all the functionality. And again, I want to emphasize the vendor decided to open source the code. So this story has the happiest ending of all. But if they didn't open source it, then we could remove that functionality, which is what chameleon did at the time. We could also link in a binary blob if that's a solution. So here's the code. There's the link and there's what's going on. We're running Arch Linux. We've got the source code for the demon. There's some utilities, the embedded controller code there, which runs Zephyr. There's an enclosure. There's a plastic enclosure for use in the lab. And then there's also system verilog sources for the FPGA for everything it's doing except the decoder blocks, the IP blocks licensed from Intel for that. We can't open source that. So I want to give recognition to all the people who made chameleon possible. Many of these people worked full time on chameleon. Others helped with specific portions of the work, or they gave technical guidance in critical areas. So thank you, Shuba, Eddie, Alexandru, Tom, Yuval, Yatzik, Konrad, Pavel, Machi, Piotr, other Piotr, Mielek, Igor Ladek, Ude, Alon, other Ladek, Matt. I could not have done this project without you. You are all awesome. And with that, we have time for questions. Yes. Okay. So for the benefit of the recording, I'll repeat the question. It's a question about the infrastructure on the Linux side for the RPC calls. Was that in user space accessing the UART? Or was that something fancier in the kernel? And the answer is we just did it from user space. Pigweed had libraries on both sides. So the embedded library that's built into our code, and then a client library on the client side that's just running in user space, accessing the UART, sending the HDLC data to the controller and managing all of that communication. So yes, just user space in this case. Other questions? Yeah, can you go back to the block diagram? Sure. I really should have that bookmark. Yes, that one. Yes. So you've got this display dongle right between the the the dot and the chameleon. Yes. Was there any consideration to incorporate power delivery and alternate modes directly into chameleon? So that was not in scope for chameleon because that's got its own set of standards to follow. We can use chameleon to validate a dongle. If you have chameleon as the known good sync for the HDMI or display port, and if you have a Chromebook or other device that you know is good, then you can basically run tests to characterize and say, okay, this dongle works correctly or it doesn't. There was a case, I won't name names, but there was a case of a dongle where it did not handle the hot plug detect correctly in in certain situations.  And then we started looking into it more and bust out the oscilloscope. We're like, Oh, it's doing it wrong. So that was that was both frustrating and very, very nice to find that, you know, we were doing things correctly. And this thing was actually the problem. Yes, the question here. Okay, so the question is, is this an internal Google project, or is there a possibility of it becoming commercially available? Currently, it is an internal product. We are working with our development partners on providing chameleons to them. I do not know if it will be available commercially like you can buy it on a website somewhere. But we have worked in the past aside from our development partners with members of the open source community who are particularly active in certain areas to. So this is actually, I should probably say, this is chameleon v3. There was a v2, like eight years ago, that's been going on, but display standards have, you know, moved on since then. And so there are, there's, there's older chameleon hardware out there. And we have provided that to some members of the open source community who are particularly active in those areas. So the question is, does pigweed require C++? Yes, it does. Pigweed is very much a C++. I believe C plus plus 17 library. Fortunately, that did not pose integration challenges for our project. I mean, the chameleon code was all C because I'm kind of old school, I guess. It was just, it was simple. It was easy. And but integrating the, integrating the pigweed and the C++ in there was very, very little effort after Yuval's initial work to just get all the CMake stuff set up. So yes, C++ for pigweed. And I think there was another question closer in the front. Yes. This one. So amongst the issues that we've seen, repeat that question. Oh, yes, repeat the questions. I'm so sorry. Thank you, Keith. So the question is about this test matrix. It shows test failures. And can I share some of the regressions that we've caught with chameleon so far? The answer is in great detail, no, but issues with particular resolutions. We've found some of them where a particular device was not happy going into a certain resolution. 4k60 is, seems to be particularly fussy, because it's the highest bit rate. And so, you know, you need good PCB rounding, you need a good quality dongle, those sorts of things. We have also found some issues with mirroring to an external display and changing the resolution to match that. When you've got a Chromebook with a certain resolution panel, and then you have a higher resolution display and you tell it to mirror, sometimes depending on the state of development, you can get issues where the Chromebook says, yeah, I can't go that high, I give up. And then the resolution gets all wacky. So, yeah, various issues with switching resolutions. Any other questions? All right, I'm going to take that as a no. Thank you, everyone.


Hi, everyone. We're going to give it just a few minutes for everyone to come into our Zoom room, but as always, this group is incredibly prompt, which is always greatly appreciated. And while we're doing that, I'm going to go ahead and start sharing my screen. We will jump into today's program. Well, as always, I want to welcome everyone to the CDC care webinar. My name is Robin Bauer Kilgoe and I'm the CDC care coordinator. I'm going to outline just a couple of a few things at the top of today's program and then we're going to throw it over to our presenter. You are here today for exhibiting photographs. We'll be running from about one to 2pm Eastern today for this program. And again, my name is Robin Bauer Kilgoe. I am the CDC care coordinator coordinator. I'm located just outside of Washington DC in Silver Spring, Maryland, where we're starting to see some spring. So it's kind of nice, even though it's been a pretty mild winter. It's nice to kind of see all the flowers blooming right now. Feel free to go ahead and put your location in the chat if you'd like. And you can also mention the weather, if you would happen to find that interesting. Just quickly, this is our home on the web connecting to collections.org. On that website, you will see all sorts of fun back resources for our program, which has been running on for over 10 years now. And quite the archive of courses and webinars, also a moderated community where you can ask questions and a bunch of other fun information. So I encourage you to go check out that website when you can. We also have two homes on social media, Facebook and Twitter out there we put announcements on upcoming programming so I encourage you to take a look at those if you haven't already to make sure they see what's coming up in the next couple months. A couple of quick technical notes before we start today. The chat is there for you all to say hello, and to say where you're from you all are doing a wonderful job at that so I don't think I really have to explain it much more than that. I would note though that in the chat box there are actually two drop downs one that says everyone and one that says hosts and panelists so make sure if you want to talk to everyone, talk to everyone, you want to talk to the hosts and panelists. Talk to the hosts and panelists on that drop down box. You also have the ability to use a Q&A box that's there for question and answer during the question and answer period of our webinar. I really encourage you to use that Q&A box when there's a question it helps us track the questions a little bit better than in the chat box which turns into kind of a nice stream of consciousness so again if you have a question at any point, please place it in the Q&A box. Also we have enabled closed captioning for this program so if you hit that CC button down at the bottom you should be able to see that. So please go ahead and do that if you like. We're also recording today's program and yeah you should be able to access it within just a few days after we're done. So if you happen to have to drop out or anything you'll be able to access before recording at that time. We've also posted resources from today's webinar and a copy of the slide deck and some outside resources our wonderful presenter has put together on our website which I'll be putting a link in the chat for that soon. We do have an upcoming webinar scheduled right now for April called Care of Judaica and on April 3 2023 from 1 to 2pm Eastern. We realized through talking with our advisory group that there are quite a few of you all out there with Judaica items within their collection so we have a specialist coming in to talk about care. Not only preventative care but kind of like cultural and sensitivity care when it comes to storing these items so I would encourage you to sign up for that webinar when you have a chance it's free as are all of our monthly webinars. We're also almost ready to announce our programming for May which is in conjunction with the annual May Day program that happens with FAIC so keep an eye out on all those little outlets that I talked about at the beginning of our program. When we announced that program coming up shortly. So I'm going to stop sharing my screen and I'm going to introduce our presenter today her name is Emily Phoenix she has worked in framing exhibition installation and photography preservation for over 15 years. And it's currently the head preparator at the George Eastman Museum in Rochester, New York. And in today's webinar we're going to go over the process of planning and executing the preparation of photographic objects for exhibitions with a focus on collections care. And throw this over to Emily and then we're going to come back at the end for a little bit of Q&A when she's finished so Emily feel free to take over whenever you want to start. Right. Thank you. I'm going to pull up my presentation here.  Can you see and hear me all right. Everything looks perfect feel free to go whenever you're ready. So, as you said Robin I'm the head preparator at the George Eastman Museum in Rochester, New York, which is the oldest museum dedicated to photography and film in the world. Our collection consists of over 400,000 photographic objects from the earliest days of the medium to the present. We're also a historic house museum, which gives me some familiarity with challenges, not just a large exhibitions in gallery spaces, but a smaller displays in areas that are not necessarily designed as exhibition spaces. Our first exhibition of photography was in 1949, long before current standards for the preservation of photographic objects on display have been established. As a result, many display methods which would be considered dubious today were regularly practiced and can still be seen in the current condition of some of the objects in our collection. Before 1989, our galleries were located in the historic house where the photographs that were exhibited were without doubt exposed to temperature and humidity fluctuations and also to a lot of natural light. As you can see on the image on the right of an exhibition of Walker Evans work in 1975. Our practices included dry mounting prints and exhibiting them pinned to the wall without framework glazing. Both from photographs of exhibitions from the time and also from this letter which was written in 1955 by the well known photographer and former employee minor white. Dear Mrs Brooks, thank you for your note the holes referred to are the pinholes that you mentioned. I must admit that I see red when mounts are damaged during installation mounts are expensive time consuming to remake and for a show that is expected to travel extensively. Soon give it a moth eaten appearance and I believe unnecessarily photographs should be mounted under glass in a manner that does not mar the mount. These color prints have especially delicate surfaces and must be handled appropriately. In that matter, all photographs have tender surfaces and the way they're handled often leaves me shuddering sincerely minor white assistant to the curator, and I couldn't agree with him more. Just in case I sounded all judgmental of any of my predecessors I wanted to include this image of our staff myself included installing a work by Alan carry with push pins as directed by the artist. Though photographs have been made in a wide variety of media and formats over the years, they do indeed have in common these as minor white put it tender surfaces. They can be easily damaged through handling, as well as being sensitive to light and to humidity in their environment. The topics I'll cover today are all related to the preservation of photographs while they're on display matting and framing mounts installation lighting use of reproductions and maintenance of gallery spaces. It's a lot to cover in a short period of time so as Robin did mention there's a resource page with some more information on these topics on the connecting the collections care site.  I thought that I'd start with talking about some techniques that I've seen in our collection that should be avoided. Finally, some of these are still fairly commonly practiced. And whether you're doing your framing in house or working with an outside framer, you should do your best not to perpetuate these harmful practices. One choice that I've seen is to leave pencil lines on the inside of a window mat. The pencil can transfer to the photograph. And while the marks can be carefully removed by a conservator, it's best to just avoid them by erasing the pencil. Another mistake is using materials that cause chemical deterioration. These are a couple of extreme examples of a wood backing board and various acidic paper backing board being used. But even though these materials are hopefully no longer used in framing materials like foam core and lower quality mat board that doesn't pass the photographic activity test are still often used. Even acid free foam core contains polystyrene which degrades over time and can warp in yellow. Another unfortunate matting choice is when the window mat has been hinged directly to the board that the photograph is mounted to. Original mounts are part of the object and shouldn't have adhesive applied directly to them. This also makes the window more difficult to replace as it gets dirty or damaged over time. At a period of time, it was fairly popular for photographers to include a signature title or addition number on the window mat. Once the mat has been signed, it takes on new significance and it needs to be saved as part of the object. That's an issue because mats do become worn through handling over time and it's better if it all possible for them to be replaceable. I've seen a lot of problematic corners being used on photographs. The kind of older style of paper corner on the bottom is not recommended. I'm also not a huge fan of the small polyester corners on the left because I have seen them fail on a couple of occasions. And I definitely wouldn't recommend using them for larger photographs or for photographs that have a thicker mount like this. One of the worst and most common mistakes that I've seen in framing has been pressure sensitive tapes or adhesives being applied directly to an object to hold it in position in a frame. Adhesives, even those that are marketed as archival, can be difficult to remove and may cause irreversible damages. Photographs shouldn't be framed directly against the glazing. The graphic emulsion is very prone to adhering to glass in the presence of moisture. So there should always be some kind of mat or spacer between the photograph and the acrylic or glass in the frame. As important as protecting against chemical deterioration is providing physical protection is equally important. We used to have a large number of works in our collection that were framed in narrow frames with only thin wire crossing the back to add any support, which is really insufficient. One by one we've been reframing these oversized works with strainers, which are essential if you're framing large works in a thin frame profile. When it comes to selecting frames for exhibitions, I would strongly encourage organizations that are doing framing in-house to select standardized frames and to prioritize frame reuse. In the long term, sticking with a standard profile finish and sizes reduces costs as well as being better for the environment. So where we do make exceptions to our standard profile is to sometimes select a more period appropriate frame for 19th or early 20th century work, or when we're working with a contemporary artist who has a particular preference for finding their work. Maths not only provide an aesthetic function, but they're also critical to providing space between the photograph and the glazing. In terms of matting choices, we mostly use shades of white, off-white and cream to match the paper and image tone. Map work can either be cotton rag or alpha cellulose, but should have passed the photographic activity test or PAT. Some processes such as cyanotypes and di-diffusion transfer prints should be matted with unbuffer board since buffering agents can have a negative impact on the preservation of those processes. There are a variety of techniques to safely mount photographs in a frame without directly applying adhesive to the objects. Ideally, an object is securely attached inside of the mat, but can also be easily removed so that damage doesn't occur if someone needs to take it out later. These are a couple of examples of using folded paper corners to mount photographs. The prints on the right have a style of corner that can be easily folded back to remove the photograph without needing to cut the tape holding the corner. And there's more information and instructions on cornering on the CTC website. A sink mat should be used if a photograph is mounted to a board, and especially if it's warped or curling. On the left, you can see this photograph had previously been matted using corners, which wasn't ideal. On the right, it has a new sink mat that has enough depth to hold the object without applying pressure, which in some cases could cause the mount to crack or split. A technique that we use less frequently but can be helpful when mounting some trickier objects are edge strips. In this case, I was matting and framing an album page. The page not only had delicate and worn edges and somewhat dog-eared corners, but also had a hinge where the page would have been bound into the album. I made narrow strips along three of the sides to allow as much of the page to be visible in the window of the mat as possible. But used a wider strip on the side with the hinge to support this line of weakness in its structure. There are times when being able to see an object in its entirety is important to understanding its context. One way that we can show an object safely without over matting is to use small bent pins covered in teflon tubing to hold an object to the backing board. Though it's more rare, we also use magnets to mount objects like tin types without any visible mounting method. Another way that the entire object can be shown without a visible method of mounting is by applying hinges for a float mount. Because this technique requires adhesive to be applied directly to an object, this type of mounting is done by our conservators to make sure that the adhesive and the hinge that is applied is reversible. In these images, a conservator is applying small v-shaped hinges to the four corners of the objects. Because these hinges are folded behind the object, they aren't visible when the piece is framed and give the illusion of the objects floating on the backing board. Other important mounting methods to know about are dry mounting and pressure sensitive cold roller mounting, which uses a polyester carrier with acrylic adhesive. This is a popular option for large contemporary inkjet or chromogenic prints and for good reason. It keeps large work that is prone to sagging and distorting nice and flat and it protects against damage from handling such as dents and creases. The drawbacks are that it's not easily reversible. Also to mount to an archival substrate like Dibond can be costly and the availability of this service is more limited. Since it's more high risk and fairly permanent, it should be done by professionals with the right equipment and experience. We usually work with Lamont in New York and on the left is a picture of them mounting a large chromogenic print. On the right are mounted and framed works by Tanya Marcus from her exhibition Woven. Photographic objects are sensitive to changes and extremes of humidity. Some processes like albumin, yellow and fade more quickly in high humidity. Other processes like Woodberry types are prone to cracking in low humidity and almost all prints with an emulsion are prone to curling or cockling when humidity changes rapidly. So as much as possible we like to use sealed packages, which create a microclimate in our frames with a humidity range of around 35 to 50%. This is a cross section of a typical framing package. We use mainly UV blocking acrylic for our glazing. Then we have a window mat which provides space between the glazing and the photograph. A back mat which provides support and is what the object is mounted to. We may or may not use a condition sheet of ArtSorb in the package pending on whether our workspace is outside of the desired humidity range for the object. And for our backing we use Coroplast. In this cross section you can see these layers of tape right around the outside of that framing package, and that's what's creating our seal. First we make a back for the sealed package using an extremely impermeable material called Marvel seal, which is attached to the piece of Coroplast. The material is added using Escal which is a polyester with a ceramic coating so that a humidity indicator strip is visible. This strip makes it possible for us to see what's going on with the humidity on the inside of the package. The edges of the package have a layer of relatively low tack P90 tape, which protects the map from the more aggressive adhesive on the aluminum sealing tape. These are individually cut out and carefully folded around the package to eliminate any gaps where air could get into the package, and all of the tape is burnished to make sure that it's tightly adhered. Occasionally the aluminum tape is slightly visible under the edge of the frame and needs to be carefully trimmed so that it's hidden. The last step is to apply a label identifying what humidity the object was sealed at. Using this label allows us to check the object later to confirm that the seal package hasn't become to leak. In addition to protecting against humidity changes seal packages can protect against other factors such as pollution insects, and could even protect against damage from disaster situations such as a fire in the building or leak in the gallery by preventing smoke and water from entering the package. I don't often think of photographs as being two dimensional objects but there are actually a lot of types of photographic objects that have some kind of dimensionality. Photographs maybe in albums or books to gear types and amber types are often housed in cases, and there are beautiful examples of photographic jewelry. Artists also incorporate photography into sculptural works. To display these objects and cases mounts are needed to provide support and stability. One of the most common types of mounts that we make our book cradles. In this image I'm working on a cradle for an album which was in very fragile condition using a combination of finders board and map or to build the structure. The cradle was then covered with cloth. When a spine is in disrepair it's really important to create a book cradle that will support whatever structure remains. This album had a broken and separated spine and a separated signature. So in all I think it was in about five pieces. The cradle was designed to gently and carefully hold these broken components together so it could be seen as one object. That is one example but there are really limitless possibilities for mounts for objects and cases. On the left are cradles that were made with an archival and very clear plastic called PETG. That allowed the back of the postcards in the Robert Cumming exhibition to be seen. On the right are cradles that are made with map board and fabric for a group of daguerreotypes and amber types and cases. The oval mount also incorporates soldered brass wires to create a mount that follows the shape of the object. Objects are particularly vulnerable while they're being installed. Ideally there's enough time allotted to installing a new exhibition to allow for staff to work at a careful pace. But there's often pressure to allocate as little time to changing over exhibitions as possible which unfortunately can sometimes lead to rushing and to accidents. It is important that no matter how rushed you may be you always have enough people to safely install the size and weight of the work that you're hanging. Smaller works can easily be installed by one person, larger works by two or three and very large works by four to six people. Extraordinarily large or heavy works may require additional equipment or people to be safely handled. Gloves are also important for safely handling objects. The cotton gloves on the left are never used for handling objects directly. They reduce your dexterity and they're also permeable and can transfer sweat and body chemistry to sensitive photographic surfaces. They do sometimes come in handy when we're using heat for fabrication and we want to protect our hands so sort of using them like oven mitts, but we don't use them for objects. When we're handling bare photographs we use clean nitrile gloves or if we're handling books or albums we may use clean bare hands if there's a sufficient margin around the photographs on the page. However, during installs it's my preference to use the type of nitrile palmed fabric gloves on the right for handling preys. While they don't necessarily provide like the very best dexterity, they also don't break as easily as disposable nitrile gloves, which is great when handling large objects. They're also a lot easier to take on and off repeatedly. So when I'm hanging framed work all drill or hammer use whatever tools I'm using with my bare hands, and then I'll pull the nitrile palm gloves on for hanging the artwork keeping it nice and clean. These illustrations of different types of hanging hardware are reproduced from the Brode's Diversity Apprenticeship Program Toolbox, which is a really helpful resource if you're just getting started with learning about art handling and installation. Cleats can be made from wood or aluminum and are great for heavy frames since they spread the weight over multiple points. D-rings come in a variety of styles and sizes to support different weights. If you're using vintage frames and they have eyelet screws, I highly encourage you to replace those with D-rings. I have definitely seen eyelet screws pull out of frames and cause damage in the past. Hooks also come in a variety of styles and sizes and again should be selected to support the weight of the object. It's important to be aware that your hanging hardware is only as secure as the wall that it's going into. The D-rings and hooks may be rated for the weight, but for example, we have three eighths of an inch of paint on our walls. So the nails that we use need to be long enough to get past all of those layers of paint and into a solid wall. In addition to hanging hardware, security hardware can be used for theft prevention as well as an additional level of protection against earthquakes, if that's a concern in your geographical location. T-shaped security screws lock into corresponding plates attached to the frame. Bell or T-shaped plates attach to the back of the frame and then into the wall. They're really straightforward to use, but they do have the drawback of being more visible. Leashes are secured to the back of the frame and then to the wall behind the frame. They're less visible, but they have the drawback of being slightly less secure than a plate with a security screw. Another installation challenge you may encounter are works that are too large to be easily framed or works that the artist prefers not to display in a frame. This work by the artist Lorna Bieber titled Tapestry is the largest two-dimensional work we've installed to date at 11 feet by 27 feet. This work was hung entirely with magnets using a steel bracket and strategically placed steel mounting blocks. I've included some links about using magnets for mounting on the resource page. They're an option that I've really come to appreciate for some of our most challenging oversized projects and they're definitely something that's worth exploring. If you're exhibiting 19th and early 20th century photography, you're likely to eventually be in the position of exhibiting stereographs. I'm a really big stereophotography geek, so it's been important to me that when we exhibit stereographs, we're always providing a viewer that allows the visitor to see them in 3D. The design I currently prefer is based on a Holmes Bates-style stereoscope. Since unfortunately the offer on the left has expired, I found that the most cost-effective option for us was to purchase a kit like the one on the right and to modify it. I eliminated the rail here and the card holder and also this hinge on the handle. The handle was attached directly to the lens board and I made a small bracket to hold the viewer and attached a chain to prevent anyone walking away with it. I stained the viewer to match our standard frame profile before attaching the leather hood. The design makes it easy to replace broken parts as needed or to change the color of the wood finish to match the aesthetics of a particular exhibition or object. With the front rail and card holder removed, the stereoscope can be held in front of a frame stereograph to experience the three-dimensional effect. The viewer allows a variety of formats to be exhibited, including daguerreotypes, tissue views, glass plates, mounted cards, or even digital reproductions. It also gives the flexibility of framing multiple cards together or to add a light panel into the frame to exhibit stereographs such as this image from the Diabolary series, which was intended to be viewed with both reflective and transmitted light. That brings us to talking about lighting, which is a really important topic because photographic objects are inherently sensitive to light. We only have time to touch on this broad topic, but I wanted to point you towards some additional resources. These and other links related to lighting can be found on that resources page. Light levels for photographs in our collection are determined by our conservation staff. And factors that influence that decision include the process, exhibition history, duration of the exhibition, and signs of deterioration occurring in the photograph. While there are multiple factors that influence light level recommendations, if you don't have a photography conservator on staff reviewing each individual object, and if you're struggling to determine light levels, these guidelines from the Smithsonian are a really helpful starting point for determining light levels based on the photographic process. Ideally, when you're working on lighting, you can have one person taking light level readings while the other person adjusts the amount of light. In this case, we are lighting a silver gelatin print. And while technically the light level recommendations for this process would have allowed us to go as high as 90 lux. Because of some visible deterioration in some areas of the print, we decided to light it lower at about 70 lux. There are processes or formats that don't easily fit into those light level recommendations, including ones that require transmitted light or more intense light sources to be able to see the image as it was intended. We have one exhibition that included stan hopes, litman plates, and a megalethoscope slide that all fell into this category of photographic objects that are especially difficult to light. The solution, since there was only so low we could go with the intensity of light while still allowing the image to be visible, was to limit the duration of light through both motion sensors on timers and buttons which would only trigger the transmitted light source for as long as a visitor was looking at the object. With hands with extraordinarily high traffic. This may still expose the object to too much light, but in our case, it dropped the light exposure to a fraction of what it would have been without time sensors and switches. Another way to limit light exposure without reducing light intensity is to use a curtain. We can use curtains for early salted paper prints, since these are especially sensitive to light exposure, but they could in theory be used on any photograph where light exposure is a concern, particularly if it will be displayed for prolonged period of time. Some objects are too light sensitive even for these lighting methods. A possible alternative for these objects is to use reproductions. This is a reproduction of an album of photogenic drawings at the Met. Photogenic drawings are extremely sensitive to light, both photogenic drawings and processes like autochromes are so sensitive that reproductions or exhibition surrogates are really the best option. In other cases, the original objects might not be that highly sensitive but the display may be very long term. Now as part of our museum, we have family photographs that are more or less on permanent display and are even picked up and passed around on tours by docent's when they're telling the story of George Eastman's life. In this case, it makes sense to use reproductions rather than the original photographs so that the originals can be preserved. Other times we use reproductions as graphic elements, murals and on didactic panels. We also use them in areas with food like in our cafe which is pictured on the left. We use an adhesive fabric material to create inkjet prints and then trim and adhere the prints directly to the wall. We have fortunately never had issues with it leaving adhesive residue on the wall so it's a good option for temporary displays. Another reason for creating reproductions is if you have a negative in your collection but you don't have a print. I worked from some exhibition surrogate projects I worked on while I was an employee at Chicago albumen works, where one of their areas of expertise is digitizing negatives and producing prints in historically accurate processes such as platinum prints from Edwin Hill, Lincoln negatives on the bottom left and albumen prints from Matthew Brady negatives on the right. Exhibiting reproductions and surrogates can be controversial and it isn't embraced by all curators. If you display reproductions you need to be certain that you aren't violating any copyright laws. You should receive permission from living artists, and you should clearly mark or destroy exhibition surrogates so they can't be mistaken for original objects. They should also be clearly identified as reproductions on any labels or didactics. Once the exhibition is up, you unfortunately can't just forget about it. Monitoring and maintenance of the exhibition is critical to the preservation of the objects on display. Having a schedule and routine for gallery cleaning is a critical part of integrated pest management. We monitor sticky traps and replaces needed and also dust vacuum and clean surfaces weekly or more frequently if there's a pandemic. We also routinely check to make sure that there aren't any lighting or technology issues that need to be addressed. At our museum conservators monitor the temperature and humidity in the gallery spaces. They upload the environmental monitor data monthly and also check the environmental conditions several times a week. In addition to these monitors the temperature and relative humidity are monitored continuously through the building management system, which sends alarms if there are issues such as too much deviation from the set points. The environment should fall between 35 to 50% relative humidity, plus or minus 5% over 24 hours. Ideally, low temperature is best for the collection, but comfort for visitors is a consideration so we keep gallery temperatures around 70 degrees Fahrenheit or 21 Celsius. Gallery checks are also important to notice any potential structural issues such as leaks. If a leak is spotted while there's still just a small water stain on the ceiling, damage to photographs on display can be avoided. While the leak on the right was not a great situation to be in, it was spotted early enough to cover elements of the exhibition that were at risk and to remove works on display and redirect the flow of water until the roof could be fixed, which fortunately it was. Doing regular gallery checks and maintenance also gives you the chance to check on the objects on display. If lighting, environment and framing have all been done well, ideally you won't see any changes to photographs over the course of a temporary exhibition. However, changes do sometimes occur. We had a pretty dramatic change while this study by the artist Shan Goshorn was being exhibited. The mounting for the study had not been done at the museum, and unfortunately the adhesives used failed wall on display. She was actually spotted during a walkthrough by one of our security guards over the weekend. Fortunately, we were closed on Mondays and we were able to work with our conservator to upgrade the mounting of the study and have it back on display on Tuesday. While it had a happy ending and no damage was done, it was a reminder of just how important checking on the objects regularly is both for the preservation of the objects and for visitor experience. In conclusion, exhibiting photographs has the potential to compound existing preservation issues, but it can also be an opportunity to provide care and attention to objects in the collection. To preserve these ephemeral objects for future generations, it's important that we do the best we can with the resources that are available to us. I'd like to acknowledge and thank all of my preparation and conservation colleagues past and present for their guidance and contributions. It's been a privilege to learn from and with them, and to have the opportunity to pass some of that information along to all of you. So now can move on to questions. That was great Emily thank you. That was a huge amount of information you covered in a really good amount of time so thanks so much for doing that. And we're getting lots of compliments in the chat so you know you did a bang up job with the audience. I'm going to start going through some of the questions because we have had some rolling in I'm going to encourage our audience to go ahead and put some more questions if you'd like to in the Q&A because we have a nice good amount of time for question and answer which is wonderful. We were wondering you actually ended up covering this but one of the first questions that came in was can you discuss using magnets to mount so could you cover that a little bit more maybe rehash a little bit about what you discussed during the magnet section. Sure. Well the image that I showed inside of a frame was a tin type and because tin types, at least older tin types and less so contemporary tin types that are using an aluminum material, but older tin types are made on a Ferris material so they're attracted to magnets. In that case I used an inset magnet in the mounting board to attract the tin type to to that backing board. For the larger piece. There are actually like a whole lot of ways that you can use magnets for mounting. In that case, I think I was kind of describing that we used a cleat that had steel facing on it so that magnets would be attracted to it. There's there's some links to that talking more about magnetic mounting and there's this wonderful book that came out I think in 2019 that if you're interested in learning more about mounting this has been a wonderful resource on that topic. That's fabulous. I know magnets are like the secret weapon of so many things it feels like that you don't realize you look at anything hung or even just like some textile presentations and you'll be trying to figure out kind of how things are working and you're like magnets. So many great possibilities like my colleagues like to tease me that like my top three three things that I geek out over are like magnets, stereographs, and like gloves. So yeah I mean I'm sure there's a lot more things that I think out over but all good. Good things to geek out on that's for sure. Just real quick someone asked could you please repeat the name of the transparent material used to create the window for the RH indicator do you happen to remember that off the top of your head. Yes, it's a scale, which I think is spelled ESCAL. Perfect, thank you. Thanks for rolling in so should be good. This is interesting so this is wonderful talk have you incorporated more sustainable materials, or do you take into account the carbon footprint of materials you use that's obviously a big, you know topic of conversation right now within the community. Yeah, I am very concerned about that. In terms of the framing what when I started at our museum about eight years ago, there was not a lot of frame reuse that was happening. A little bit but sort of not consistently. And so switching to standardizing those frame sizes and profiles allowed a lot more reuse. And the frame manufacturer that we use uses North American hardwoods that at least in theory are a little more sustainably sourced I know there are a lot of friends that you can get that are manufactured in places where it's highly likely that those are rainforest woods that are being used so I'm very conscious of like the kind of wood that we use in our frames and trying to reuse those materials. In terms of the sealed package. I would say that it's, if we weren't reusing those that would be pretty. It would not be very environmentally friendly to be using all of those materials that don't degrade, you know they're they're archival so you don't want them to decree, but that also means that they be sitting in a landfill for a very, very long time. But by by doing reuse were able to use those backs that glazing again and again and again hopefully. So that's trying to reduce our impact on the environment when whenever possible. That's great thank you. Yeah, that was, it's like it's this is a bit of a bit of the new West type stuff right now with the sustainability trying to figure out what we can safely reuse. What can't be said you know all that kind of stuff is a real interesting kind of new world right now which I'm finding pretty fascinating in general. Um, so this is this is kind of a big question but I'm going to ask to narrow it down a little bit says the question is, could you please give a list of which prototypes are susceptible to which type of humidity and their effects that's like a big but let's say more which are the most sensitive to humidity changes so let's try to focus in a little bit on what that questions really kind of looking for so which of the photographic types do you think is the most susceptible to humidity change. Yeah, without a lot of them are susceptible and pretty much anything with an emulsion because the emulsion is expanding at a different rate, to some extent than like the base layer that it's on, you really end up with more planar distortions, something like for example an etching and I guess you could say like a photo gravure which sort of a photograph but it's a photo mechanical reproduction. But yeah a lot of photographs are just very sensitive to humidity. And while we're on the topic of books if you're wanting to find out more about that. Preservation a guide to the preventive conservation of photograph collections by Levadrine is a good resource for for more information on the topic of humidity's effect on photographs. Excellent. I have a couple of last suggestions for materials to make reproductions and how so you mentioned, you know, using reproductions which I, I completely agree I think there's a time and a place for reproductions like someone actually in the chat had mentioned that they have a gallery that people can't fit that is not under constant security so they tend to use reproductions in there which I was like that's a smart move right because that's just a way to do it. But when it comes to the actual making of reproductions how do you all kind of do those are what kind of materials do you use for that. And so I'm going to go back to the fairies. Our museum there hasn't been a ton of use of like reproductions in the original media. It's interesting. I mentioned litman plates which is like this really interesting early color photography process that's fairly rare, and our process historian at the time Nick Brandrith was making litman plates so when we had an exhibition we couldn't reproduce the one that we wanted to have in the collection, but he was able to make his own litman plates so that we could show what that process looked like because they need to be lit very brightly so. Yeah, I, there's just so many options whether you want to create an inkjet print is probably the most accessible way to create a reproduction but if you're either you have experienced staff in historic processes or you have room in to have something produced in the original process that it was made in. That's a really interesting possibility out there because I think that you pick up some information about an object from the process whether that's consciously or subconsciously. So being able to see of an image that would have been originally printed an album and as an album and print is really different than seeing it as an inkjet print that at least to me. Yeah, completely agree. I'm going back to the the ongoing question of just like what you're what do you use said can you please repeat the type of glove you mentioned to wear while handling frames. So they're nitrile palmed gloves and I think the brand that I've purchased is show if I'm correct but there are other brands that make them they're similar like you'll see. Gardening gloves or work gloves that are nitrile palms so they're like fabric with just the the the hand part dipped in nitrile. They're also nice because you can wash and reuse them I'll usually like wash them on cold and hang them to try to extend their life, but a little less waste that we're creating through disposable gloves as well by using those reproduced reusable gloves. All right, thank you. Yeah the glove thing keeps this the use of gloves in general keeps raising its head there was a big article in the, I think it was the New York Times about that a couple weeks ago about use of gloves and stuff though it seems to just keep popping up in our field which is interesting. Any recommendations for handheld light and or humidity readers what do you all use at the Eastman for that kind of information. That is more a question for our conservators I'm not usually the one who's purchasing like data loggers for temperature and humidity. I know that the ones that were using in the gallery are PEM to but I actually just the other day learned that I think those are no longer available. So I think that that we've also used like onset data loggers. So that's another company to look into. Yeah, there's a bunch out there so we've actually had some there's been some webinars and some resources put it up on the Connecting to Collections Connecting to collections.org website on that, or you could also post that question in the community we can't endorse any particular brand over the other but it's always interesting to see kind of what the community is using right now for both of those materials. What is the best way to display glass plate negatives in your experience. It depends somewhat on the condition of the negative, because if it's if you have evidence that it's deteriorating, you may want to consider doing a reproduction rather than the original plate because to really see those well it's best to be able to backlight them and in the talk I talked some about like, since things are being lit more brightly when you're backlighting that having things on motion sensors and timers or buttons to reduce the amount of overall light helps to just prevent it from being exposed What we have used in the past, when we're lighting something from behind our LED light panels like this one. And this one, I probably shouldn't be like endorsing individual companies that I think there are you know multiple companies out there that produce things like this but this is a loony sheet which is made by evil light. So that's one that's worked well for us in the past. Perfect. In that same vein, can you give any tips on displaying the always stumble over this word in my life. The stereotypes, the reflectivity of the surface we have found particularly hard to display as of years have to be at the right angle to the object in order to see it. Yeah, difficult to display. In the best case scenario you're able to really have a high level of control of the lighting in the space. It helps to have like darker walls, even a darker ceiling if that's possible, and really tight spots on those objects from kind of an angle. And that way you're getting less ambient light in the room so you're getting less of a reflection from the person standing in front of it or from what's going on in the room behind it. So the darker you can make the space overall and the tighter the spot and kind of having that spot from a little bit of an angle can help someone lighting to gear types but they, they are extremely difficult to light. So I can't say what's the bad side of it is that there's a really, I like saying this in real life even though I stumble over the word. We use projector spotlights when we're lighting those, which make it so that you can really like focus and close down the light to be pretty tight on the object. And this is interesting. Are there any cases where a photograph was to be exhibited so as both sides could be seen.  We had an an intaglio print I think that we showed both sides and we had sort of like a case that was really really really narrow case. So acrylic on both sides of it and kind of like was trying to remember the details which is sort of somehow mounted to the acrylic so that you could walk around and see both sides you see that often with paintings. Where the frame has been sort of inset into a wall with acrylic, the back so that you're able to see the back of the painting so it's possible to do just kind of tricky. Yeah, but it sometimes there's some good information on the backs of things you know not even meaning to so that I could see why that could be a challenge sometimes. Another nice option with that is sometimes we'll make a digital image of the information that's on the back and reproduce that on the didactic panel. So that people can can see what the back looks like without having to physically figure out a way to show both front and back. I like that idea. I've also seen this was more on objects but I worked at a place where there was something on the back of a textile and so we ended up setting up the exhibit folks set up a set of mirrors. So it wasn't perfect but at least the mirrors kind of gave you a reflection of kind of what was going on behind it. She was really interesting to see. And there is that image I had of postcards so those were like photographic postcards that had writing on the back and so you can have in a case where you're able to walk around the case and just have it mounted on something that's clear. I like that. I have an interesting question that says do you have any recommendations on how these practices can be scaled for smaller institutions with a budget and staff limitations. Are there a few of the techniques discussed today that you would consider to be the most important. Venetian is if an institution can't follow all of the best practices and that's been a topic lately is you know sometimes just within budget staff everything this question or said you kind of go like okay obviously you're going to do the best you can but what would you think should folks focus on most when looking at those limitations. I think a good place to start is with how it's matted because I just it that's sort of the closest most intimate thing to the object so that's really where there's a lot of potential for harm to an object and it doesn't break the bank to to use a paper corner and you know an archival paper corner versus like a bad style of photo corner. So that's I think like where I would recommend starting as trying to increase how archival reframed objects are in many cases it doesn't cost that much more to to mountain in a way that isn't harming the object versus mountain away that does harm the object it's just that the time and the experience. That makes sense completely. I'm actually going back to the photo quarters questions someone said could you elaborate further and why you don't recommend using poly photo corners what kind of paper do you use for your paper corners. So with the poly corners it's a pressure sensitive adhesive, and that adhesive is behind the object. So when you slide the corner on and position it you have to kind of press down to get that pressure sensitive adhesive to be activated and you don't want to. I mean I suppose you could like carefully tack it down and then try and remove the object but then you're trying to like bend the object out of that corner to burnish down on the corner. So it. It's just a little complicated because of that adhesive being behind the object for pressing it down. And I've also on a couple of occasions. You know what particular brand this was or anything like that but seen where where the corners were seemed it wasn't seemed well enough. And so the seam didn't have the strength that needed and the seam of the plastic failed. The if that seam is, you know, well, well done. And if you can kind of like gently burnish the adhesive I'm not saying that like absolutely never ever use them if they're if they're your best option. There are maybe unique cases where they might be the best option so it's really case by case but the paper corners there's some instructions on making the kind of it full back. So we're usually using perma like paper for our corners. And then using film a plastish linen tape for adhering the corners to the backing board. Perfect. Um, someone wanted you to mention the book on magnets again so could you hold up the book. So they can see that. Excellent. Thank you. Appreciate that. Um, I'm trying to hit like one works right 159 so someone did ask real quick do we have access to the webinar recording yes you will I'm going to probably post it within a few days it'll be on the FAIC YouTube channel and also our website. Connecting to collections.org. I also put a link to the resources and the survey for today's webinar in the chat so if you guys could do that that would be appreciated. And someone mentioned the magnet book is in the resource list so thank you for doing that so that I think that's the most popular resource for today's talk which is great. Um, I think, looking at these will do this one do you have any advice and handling and showing holography holography, H-O-L-O-G-R-A-P-H-Y. I don't think I've had a holograph that we've exhibited yet, but I think it would, it would depend I don't think that they have any like particular lighting requirements so. Yeah I think I'd have to see the object in person to know exactly what I'd recommend like in terms like how thick it is or yeah new one for me but maybe someday I'll have one come in. I didn't mean to stump you on the last question let me see if I can find one more. This is in any way can you clean photographs is there a safe way to clean photographs would you think, or would that be more you think a collections person's question or what do you guys handle on the exhibit side of the house when it comes to cleaning. Well, they, when they come into prep they are sometimes dusty and the surfaces of photographs are so easily damaged, mostly to remove dust we use one of these little rocket puffers. And then if you have something that's like a little bit more clinging but you can tell would be possible to remove just like taking a really soft brush not like wiping down a whole surface but trying to just target some area and gently lift dust that maybe isn't coming off just with the rocket blower, but any kind of more invasive cleaning we would leave for a conservator to do. Well, I'm going to go ahead it's a little after two so I'm going to go ahead and wrap up today's program I'm I still have questions that get to be answered and what I'll do is I'll get those over to Emily to take a look at because we can pull the report from zoom. But I would also encourage you all to reach out to me at C to CC at cultural heritage.org with questions and I can see about getting them over to Emily as well for follow up. Just huge thank you. This was huge and it was really useful and you said a lot of really good information and I'm seeing lots of little clappy and hard about she's coming up right now so you know the audience enjoyed it. Do you have any last words you'd like to say to the audience real quick before we sign off today. Go to lots of photography exhibitions because that's where I feel like I learned so much and not just photography exhibitions but exhibitions generally I just feel like I'm always learning from seeing and trying and staying curious about techniques that other people are using and. Yeah, don't don't be discouraged if you're limited on resources and staff, you know just do the best with what you can because any amount that you can do is better than not doing anything so yeah good luck out there. At this point, thank you for closing with that. Well thank you to you Emily thank you to IMLS who supports this program thanks to FAIC. We will be back next month and just actually a couple weeks with care of Judaica so I would encourage you to register for that webinar and keep an eye out for that may day programming as well. Complete our survey and if you have any questions just shoot me an email over at c2cc at cultural heritage.org. Thanks again Emily everyone stay safe and we'll see you in just a few weeks. Bye bye.


We have the Science Center Extravaganza at the East Kentucky Science Center where they'll have science experiments for slum, sunbeeds, and bubbles, and planetarium show. Saturday, July 27th, from 12 to 2 at the East Kentucky Science Center. We have make your own kaleidoscopes on July 15th at 3 o'clock. We have the Alien Animal Show where kids can interact with unusual animals on July 18th. And our last show of the summer is the Harry Potter Magic Show on July 30th at 5 o'clock. It's a fun magic show where kids will be tested for magical abilities and questioned about their knowledge of Harry Potter and other famous wizards. Most of our programs are geared toward kids 12 and under. All of our events are free. Kids can log books on our app Beanstack and earn prizes for their reading. We also have prize drawings at our events and every time they check out books at the library. They're fun programs for kids. They're free. They're indoors. They encourage learning and creativity.