.
Since some of the information here reflects general
Division guidelines, the records for the Adams Manzanar
collection may not use all the fields or have
all the indexing features described below. For general
information about cataloging pictorial materials,
see the Visual Materials: Processing & Cataloging
Bibliography (http://lcweb.loc.gov/rr/print/resource/vmbib.html).
Cataloging Ansel Adams's Manzanar Photographs (Summary)
The titles of the photographs come from annotations Ansel Adams himself
provided on the prints and the negative sleeves. Corrections of misspelled words
and names are designated with [sic] or [i.e.].
When multiple versions of the same image are available (usually as
a negative and a print), both versions are described in a single catalog record
to facilitate comparison of what was captured through the camera and what Adams
created in the darkroom.
Many kinds of reproduction numbers are included because different versions
of the image may have been copied in different formats--digital, photographic,
black-and-white, color.
Examples:
- LC-DIG-ppprs-00308 (b&w digital file from original print) [scan of a print]
- LC-DIG-ppprs-00161 (b&w digital file from original neg.) [scan of a negative]
- LC-USZC4-5618 (color film copy transparency) [color photo of a print]
- LC-A35-T01-6-M-9 (b&w film dup. neg.) [duplicate of a negative]
Both subject headings and subject summary notes have been provided. Two
subject headings appear on every record to help people locate the photographs
when searching across multiple collections in American Memory or other online
catalogs.
- Manzanar War Relocation Center--[Topical Subdivision]--1940-1950.
- World War, 1939-1945--Japanese Americans--California--Manzanar.
Fields Displayed in Catalog Records (in alphabetical order)
CALL NUMBER
The call number is a string of letters and numbers used to locate the original
material filed at the Library of Congress. Although Prints and Photographs has
a unique system of call number locations (and the patterns vary from filing
series to filing series), the call number is still useful as a quick reference
citation. The call number is composed of several elements, typically a coded
filing series designation, an alpha-numeric subdivision category, and an item
identification number.
The prints by Adams are in one group designated LOT 10479. Library
staff subdivided the LOT into eight subject categories in the 1960s, but similar
pictures often appear in different categories.
- 1. Portraits (family and individual)
- 2. Landscapes (campsite scenes and miscellaneous)
- 3. Activities (various occupations such as artist and butcher)
- 4. Activities (farming, recreation and sports, meetings and concerts, miscellaneous
socials)
- 5. Activities (education and schools, religion and churches, health and
hospitals)
- 6. Portraits (individual and family)
- 7. Miscellaneous
- 8. Portraits (individual)
Within each numbered subject category, the Library assigned sequential item
numbers.
Example:
- LOT 10479-1, no. 18
The Library of Congress assigned the negatives to two filing series,
coded for the surname Adams. "LC-A35" designates 4x5-inch negatives and "LC-A351"
designates 5x7-inch negatives. The rest of the call number follows Adams's own
identification scheme. The first sub-numbers are either 3, 4, 5, or 6 and might
indicate images shot during a single trip. The "M" seems to be a code for the
Manzanar project. The last number indicates the shot, followed by A, B, C, etc.,
to designate variant views. The shot numbers are sequential, but there are gaps.
Either Adams skipped some numbers or did not donate those negatives to the Library.
In the few cases in which Adams did not provide an item number, an "x" indicates
those numbers assigned by the Library.
Examples:
-
LC-A35-4-M-40-Cx
- LC-A351-3-M-23-B
When the Library has both an original print and an original negative, only the
call number for the print appears in the catalog record, and the call number for
the negative is in a note. When there is only a negative, the negative number
is the call number.
CARD #
The control number, or card number, for each catalog record is a unique identification
number. It can be used to do a quick number search when a user wants to see
a specific record without repeating a long keyword or subject search. However,
only some online catalogs provide an index by this number.
COLLECTION
The title of the collection associates each item with its source and with
other pictures in the same collection. This title is useful to include in bibliographic
citations as a source or provenance statement.
Example:
- Adams, Ansel, 1902- . Manzanar War Relocation Center photographs
Some items are in more than one collection because they are associated with
both a format-based collection (e.g., Daguerreotype Collection) and a donor-based
collection (e.g., Frances Benjamin Johnston Collection). Other items lack a
formal collection title heading because they are in collections that have not
yet been fully cataloged.
CREATOR
When the name of an artist, photographer, architect, printmaker, or other
image creator is known, only one form of the name is used, so that it is possible
to retrieve all works by one creator under a single spelling or form of the
name. If the form of the name has been established in the Library of Congress
Name Authority File (LCNAF), that form is used. Birth and death dates are included
only when such information is readily available and the form of the name has
not already been established in the LCNAF. When an LCNAF name form is established
while the creator is alive, a death date is not usually added when the creator
dies. It is expensive to update such information, and the name is already uniquely
identified in the catalog.
Example:
- Adams, Ansel, 1902- photographer.
The absence of a creator's name indicates that the creator is anonymous, unidentified,
or unknown.
After the name, a relator term identifies the relationship(s) between the
name and the work being cataloged: for example, architect, artist, copyright
claimant, photographer, or publisher.
DATE
The date in the date field refers to the year(s) when a picture was created
or published. The time period depicted in a picture may be conveyed through
notes and subject-heading subdivision areas, especially for prints and drawings
showing events that happened long before the artist portrayed them. For photographs,
creation and depiction dates are usually the same, and the date field may be
the only place where the date information is displayed.
Adams's Manzanar photographs were all taken in a single year, 1943.
The date is transcribed when such information appears with the picture. It
is difficult to assign a specific year to undated prints and photographs. The
catalogers look for clues such as styles of fashion shown in the image, the
creator's life dates, and type of physical media. Often, only a span of years
or decades can be estimated, and such dates are shown in brackets: for example,
[between 1900 and 1930].
When the single letter "c" appears before a date, it indicates the year in
which an image was deposited for copyright.
The abbreviation "ca." means "circa" and indicates a date that is approximate
to within five years before or after the stated year.
DIGITAL ID
The field begins with a word or phrase that explains the source used to create
the digital image: for example, the "original" work or a "b&w copy film neg."
The Library's digital images are often created by scanning one or more of the
copy negatives, slides, or transparencies listed in the Reproduction Number
field. The Library uses a brief file identifier for its locally programmed image
displays. The URL (http) and URN handle identifiers are provided to aid display
of images in other environments.
Example from Adams's Manzanar photographs:
-
(original print)
- ppprs 00376
- urn:hdl:loc.pnp/ppprs.00376
- http://hdl.loc.gov/loc.pnp/ppprs.00376
FORMATS
The genre and physical characteristics of the original work are listed as
plural index terms. Examples include: Broadsides, Engravings, Group portraits,
Lithographs--Color, Paintings--Reproductions, Political posters, Portrait photographs,
Stereographs, and Woodcuts.
These headings are sometimes subdivided by the nationality, place, or decade
in which the work was created. Other subdivisions indicate whether or not the
work is in color or is a reproduction of another medium. The terms come from
the Thesaurus for Graphic
Materials II: Genre and Physical Characteristic Terms.
Examples from Adams's Manzanar photographs:
- Portrait photographs 1940-1950.
- Gelatin silver prints 1940-1950.
MEDIUM
The physical properties of the original work are described by listing a readily
recognized broad category, such as photograph, drawing, or print, followed by
a more specific designation, such as daguerreotype, charcoal, or aquatint. The
medium is determined by examining the work. The description is also a reminder
that the physical characteristics of the original work are quite different from
the digital reproduction on a computer screen.
The quantity of material is also stated, although most records usually describe
only a single item. Some records, however, describe tens or hundreds of items,
and it is helpful to know the extent of each work to understand the specificity
of the information in the catalog record.
Examples from Adams's Manzanar photographs:
-
1 photographic print : gelatin silver.
- 1 negative : safety film.
The dimensions of a work are rarely provided in minimal-level cataloging. When
Adams provided only a negative, however, the dimensions of the negative are
provided.
Example:
- 1 negative : nitrate; 4 x 5 in.
NOTES
Many types of notes are written to explain publication reproduction restrictions,
sources of devised dates and titles, acquisition source, related material, the
name of the collection to which the work belongs, citations to published versions,
and other aspects of the work. A subject description, displayed as the SUMMARY
field, may be written, especially if a title is not self-explanatory.
For the Ansel Adams Manzanar photographs, the source of the acquisition, a
gift from the artist, is provided along with the range of years over which the
acquisition took place.
Examples:
- No known restrictions on publication.
-
Title transcribed from Ansel Adams' caption on negative sleeve.
- No original photographic print. Library made print in LOT 10479-1.
- Gift; Ansel Adams; 1965-1968.
- Forms part of: Manzanar War Relocation Center photographs.
RELATED NAMES
When multiple individuals or corporate bodies contribute to a work, their
names can be listed as related, or added, entries. When the nature of the contribution
can be specified, a relator term, such as client, copyright claimant, interior
designer, or sculptor, is added after the name.
REPOSITORY
The name of the Library division that has custody of the original work. This
information can help users locate or cite the original.
Example:
- Library of Congress Prints and Photographs Division Washington, D.C.
20540 USA
REPRODUCTION NUMBER
This alpha-numeric code identifies existing black-and-white and color negatives,
slides, or transparencies from which prints, transparencies, and other photographic
reproductions can be ordered. This number is also the most useful (and shortest)
reference citation to include with any subsequent publication of the image.
A qualifying phrase identifies the type of reproduction (e.g., color transparency)
and points out which reproductions are only details or cropped versions of the
original works. This information can help users decide which copy they want
to reproduce.
The abbreviation "b&w" stands for black-and-white.
SUBJECTS
Catalogers assign index terms that describe what the image shows as well as
what the image is about. For example, a political cartoon depicting a basketball
game in which the players are dribbling a globe is "of" basketball and "about"
international relations. Most of the topical terms come from the Thesaurus
for Graphic Materials I: Subject Terms. http://lcweb.loc.gov/rr/print/tgm1/
The proper noun headings come from the Library of Congress Name Authority File
and from the Library of Congress Subject Headings.
Adams's Manzanar photographs examples:
-
Arrivals & departures --California--Manzanar--1940-1950
- Bridge (Game)--California--Manzanar1940-1950
- Japanese Americans--California--Manzanar--1940-1950 [for photos of people]
- Manzanar War Relocation Center--Facilities--1940-1950 [each record]
- Nurses--California--Manzanar--1940-1950
- Takeno, Roy, 1913-
- World War, 1939-1945--Japanese Americans--California--Manzanar [each record]
Some collections have only preliminary index headings and do not use standard
vocabulary sources such as the Thesaurus for Graphic Materials. For example,
the Historic American Buildings Survey/Historic American Engineering Record (HABS/HAER)
uses an uncontrolled indexing vocabulary in which different terms, such as "Car
dealership" and "Auto dealership," are sometimes used for the same subject, because
the material being cataloged used those different terms. The Gottscho-Schleisner
Collection headings focus on terms for types of structures (for example, "Automobile
dealerships") and use few proper names for subjects such as buildings. (The title
includes an informal building or project name taken from the photographer's logbook.)
Terms are sometimes subdivided by place and date of depiction. In other cases,
the place names are expressed as hierarchical geographic "strings" to allow
keyword access to names of countries and states as well as counties and cities.
Examples:
- Canada--British Columbia--Vancouver
- United States--Maryland--Baltimore
TITLE and STATEMENT OF RESPONSIBILITY
Whenever possible, the title is transcribed from the original picture, or
from a photographer's logbook or negative jacket. If the picture carries no
caption, a title is devised from another source and displayed in brackets. Devised
titles are written by Library staff, or they might come from a published book
illustration or a former owner.
The terms "[sic]" and "[i.e.]" indicate erroneous spellings or information
in transcribed titles. The correct information is provided as needed in the
title or a note.
The titles of the Ansel Adams Manzanar photographs come from handwritten or
typed annotations provided by Adams on the prints themselves and the negative
sleeves. A stock note identifies the source of the title: "Title transcribed
from Ansel Adams' caption on verso of print."
Title example:
- Richard Kobayashi, farmer with cabbages, Manzanar Relocation Center,
California
The presence of a signature with the prints or the photographer's stamp on the
negative sleeves was transcribed as a statement of responsibility, which is separated
from the title by a slash "/" mark. The photographer's full stamp reads "Photograph
by Ansel Adams, Route 1, Box 181, Carmel, California."
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