Hi, I am Lily, you may remember me from the Getting the Picture blog. I was the Museum Studies student working on the Lyell Project for 8 weeks and guess what – I’m back! I will be here for the next 6 months finishing off the project, so here’s a little bit of information about me.
I have been interested in palaeontology for as long as I can remember, since the first time I watched Jurassic Park. All I have wanted to do since then is work in a museum, giving information a new life by exploring the ways old stories can be used to engage people in unusual and exciting ways.
When I first visited OUMNH I fell in love. It was hands down the best museum that I had been to. All I wanted to do was work somewhere like that, and look at me now (follow your dreams, kids!). When I learnt earlier this year that I was able to undertake my work placement here I was ecstatic. The project looked amazing and I couldn’t wait to start. A few months later I arrived, and it was everything I hoped it would be and more. Now I am back I have the same feeling of elation, finishing a project that I loved working on. It felt like a dream when I was asked to return (for actual money this time) – I am still not quite sure it’s real. To all those out there looking at doing work placements one piece of advice: pick somewhere you can see yourself working and you will have an amazing experience. Trust me, I did. I can’t wait to see the end result of this project and I hope you guys are all with me on that. It’s going to be amazing.
Photographing museum specimens is an important part of the documentation process. It creates a record of the condition of the object at a particular point in time, and may reduce the need for long descriptions of the specimen and associated material such as labels. Making pictures available online also provides an exciting new window into the behind-the-scenes collections. There’s recently been a big drive in the museums sector towards mass digitisation, and our museum is moving towards that model. The important thing for us is to balance speed with the need to produce photographs that are both useful and appealing to our audiences.
I’ve taken many different types of photos over the course of the Lyell Project, trying out different ways of creating the best image to illustrate a blog post, record an entire drawer or capture different types of handwriting. It’s been a useful but time-consuming process. We are now moving on to the mass digitisation part of the project, and I’ve spent much of the past few weeks experimenting with various ways of doing this. My aim is to get the entire process of photography, from getting out the specimens to uploading the images, to work more smoothly, making everything faster and more efficient.
The equipment I’m using was already in the museum, purchased during various projects and using different funding sources:
Camera: Canon EOS 6D (the specification is probably overkill for these photos)
Lens: EF 100mm f/2.8L Macro IS USM
Copy stand: Kaiser RS1 copy stand
Lights: Kaiser RB30 lights
Software: DSLR Remote Pro (remote capture application for camera)
Cable with USB type A plug to mini-B plug to connect the camera to the laptop
Paint brush to dust specimen and clean background
White paper for background
Stiff white card reflector to reduce shadows
For rapid photography, the big advantage of the Lyell Collection is that around 95% of the specimens are attached to wooden or cardboard tablets, many of which are the same width. We want to capture images of the entire tablet as that provides useful information about the specimen, including the object number, locality, genus and species. As the specimens are already fixed to the tablets, there was no need to go through the time-consuming and fiddly process of orientating every specimen in the same way and keeping it in position using props. The only decision was which way up to photograph the tablet. As you can see from the photos below, there is very little consistency to the orientation of the fossils on the tablets, so we decided to go with standard paleontological orientations e.g. apex up for gastropods or, where there was a mixture of ways up, to go with the orientation of handwriting.
I was surprised how quickly I could take photos of the specimens when I left the camera at a fixed height above the specimens and used autofocus, instead of adjusting the working distance and manually focusing for every specimen. Only the very smallest shells (less than 1cm) looked a bit flat, and there was still enough of the shape recorded to be useful.
I’ve done three drawers about 250 specimens so far and I’ve got down to approximately 2 minutes per specimen. This includes the whole process from getting drawers out of the cabinets, photographing all the specimens, manually renaming the images with the specimen number, doing basic image adjustments to the RAW files, saving as archival tiffs (5472 x 3648 pixels), and jpegs (1000 x 667 pixels) for online use, editing metadata, and uploading to our collections management system and digital archives. Other demands of the project mean that I won’t be doing this full time, but I’ll probably be be doing a day or two of photography per week for the rest of the project.
This process will slow down considerably as we get to less uniform drawers of specimens and specimens that aren’t on tablets, but it is really useful to know how much we can do with limited equipment. In the future we may look at automating some of these processes. We’ve just been joined by a Museum Studies student who’ll be on placement with us for the next eight weeks. She’ll be working on all aspects of the Lyell project including photography, and simplifying the photography procedure in this way should make the training much easier and allow her to achieve much more in a short period of time.
Most of Lyell’s specimens are mounted on wooden tablets like the one pictured above. The glue used for mounting the specimens has failed in some cases so the fossils are loose. This means we have to be very careful moving them, for example if we want to see what’s written on the back.
The faded ink writing on the front of the tablet gives the identification “Cardita rudis” and the locality “Touraine”, a historical province in the north east of France. We think that this writing and the pencil on the back may belong to Charles Lyell based on comparison with some of his letters, but we aren’t sure. We do know that the black ink numbers were added to the tablets by Paul Clasby, the Honorary Associate who catalogued the collection in the 1980s and 1990s.
Although it gives the same information, the writing in ink on the back of the tablet seems completely different to Lyell’s, and the slope of the letters suggests that the writer may have been left handed. The layout suggests that the ink writing came first and the pencil was added later, which means Lyell may not have been the person to originally identify the specimen.
Some of our unmounted Lyell fossils have distinctive labels from previous owners, but the fact that these Cardita specimens are mounted on the standard Lyell tablet suggests that the ink writing on the back is not that of an original collector. As we continue to work through the collection we hope to work out the identities of some of the other people associated with it and the role they played.
When I started work on the Lyell project in July of this year, I was very keen to know more about the history of the collection, both before and after it arrived at the museum. Collections often arrive at the Museum with associated material such as catalogues, letters or notebooks and after they arrive any activity related to the collection should be documented.
The first step in investigating the history of the collection was to find out what was in the Museum’s records. I began by looking at the donors database; this recorded the date that the Lyell collection arrived (1903) and the donor, Sir Leonard Lyell, Charles Lyell’s nephew. There was a little more information in the donors card index, which mentioned the fact that the collection came in two parts, the bulk of the collection in 1903 and then additional Italian specimens in 1907. The Collections Manager, Eliza Howlett, also directed me to the annual reports of the Museum for 1903 and 1907, which noted the two donations, and to the Earth Collections Lyell file, but this started in the 1960s and was entirely related to the use of the collection.
I wondered if there was a book of acquisitions that recorded the information that went into the annual reports. A colleague had vague memories of some early donation books, so I decided to go on a hunt to see if that would yield more information. I checked many shelves, climbing up ladders and peering into boxes all over the Museum. My search eventually narrowed down to a cupboard full of folders taken from a former curator’s office. The donor book was there (and interestingly included library books as well as fossils) but it started in 1929 so it didn’t cover the years that I was interested in. I delved further into the pile and noticed that a tattered box file was labelled “Lyell Collection” among other things. Bingo!
Or so I thought. After carefully searching through the box, there was nothing Lyell related at all. There was quite a bit of space, so clearly something had been removed. I kept on searching, roping in various colleagues to help me think of new possibilities, which involved more ladders and delving into cupboards that hadn’t been disturbed for years. I found some interesting things but nothing on Lyell and I started to think that whatever had been in the file was already in our Lyell folder.
Then one day, a month or so later, I came in to work to find a mysterious cardboard box on my chair. Inside was some old notepaper, photocopies of most of the 1980-1990s catalogues, and a marble bound notebook with “Lyell Collection” on the front. It was the missing piece! It took me a while to work out where it came from but it turned out that one of our Honorary Associates had found it on the top of a filing cabinet while looking for something else.
It was fascinating to read. Inside was a complete, drawer by drawer listing of the species and localities of specimens from the collection. There were references to the places in which they were published, and references for further information as the cataloguer worked out where the localities were and how the stratigraphy fitted together.
The book contained two sets of handwriting. it became clear that this was a document created after the collection was presented to the Museum, as we identified the first set as that of Maud Healey, who worked as Assistant to Professor W.J. Sollas, Keeper of the University Museum, between 1902 and 1906. We know that she did a lot of cataloguing and arranged displays, and the 1903 annual report gratefully notes how the “work of reorganization of the fossils of the Museum Collection … has … progressed … at a much more rapid rate during this year, a result entirely due to the devoted efforts of Miss Healey.”
It seems Miss Healey may have pushed herself too hard; the 1906 annual report notes that the ” Professor regrets to have to record the loss of the invaluable services of Miss Healey, who as a result of overwork has been recommended to rest for an indefinite period. This will prove a serious check to the rate of progress which has for some time been maintained in the work of rearrangement, and it is to be hoped that her retirement may be only temporary. ”
We haven’t yet identified the second set of handwriting, but the owner recorded the specimens that arrived after 1907, when Miss Healey had left. We suspect that it belongs to a C.H. Dunham or Durham, whose name is written on the book along with the date December 1907, but research so far hasn’t come up with any more information. If anyone reading this recognises the name or can suggest anywhere to look, we would love to hear from you!
Just over a hundred years ago the Museum acquired a collection of fossils from renowned 19th-century geologist Charles Lyell. Lyell is famous for his book Principles of Geology which provided a foundation for the modern study of the science of geology. On the new blog we will be documenting the digitisation of this collection.
Just over a hundred years ago there was great excitement amongst the staff at Oxford University Museum when they acquired the Charles Lyell Collection of Tertiary molluscs. In his 1903 Annual Report the Professor of Geology, W.J. Sollas, described it as one of the most noteworthy events in the Geological Department that year.
The collection contains over 16,000 fossil specimens, mostly molluscs (bivalves, gastropods and scaphopods) but also shark teeth and other vertebrate remains. Although some of the specimens are on display in the museum, few people were aware that we had the collection. It wasn’t until the 1990s that the collection was fully catalogued, and it has never been included in the Museum’s main collections databases.
Over the next 18 months we are planning to digitize the collection and create links to our archival material and Lyell’s publications. We want to make the collection…