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Friday, July 26, 2019

Make a Lasting Difference: Become a Volunteer Transcription Reviewer

A local charitable organization I once proofread for had the slogan “Make a Lasting Difference.” I often reflect on these words as I review Smithsonian Institution Transcription Center documents. The work we do at the Smithsonian will enable future researchers to learn a great deal more about our collective history – and, in the case of my volunteer “home” at the Freedmen’s Bureau Papers, will help genealogists connect with their formerly enslaved ancestors. Our work really does make a lasting difference.
If, like me, you pride yourself on your attention to detail, love to find and fix other folks’ mistakes, and enjoy trying to make sense of history, volunteer transcription reviewing just might be for you.

The Difference Between Transcribing and Reviewing

Volunteer transcribers create online versions of primary source documents by carefully typing what they read so that the originals become more accessible and searchable. Reviewers then edit these transcription “first drafts,” comparing them to the originals and tweaking them if necessary, before marking the work as complete.
Because my typing skills are limited, I’m not an effective transcriptionist. However, my professional background in research and proofreading makes me an excellent reviewer – and I love the work that I do. I revel in exploring long-ago stories and uncovering little details. I also get the daily opportunity to learn more about my country’s history, and particularly about Reconstruction. Over the past few years I’ve fine-tuned the way I go about reviewing, and I’ve been asked to share some of my process with you.

Getting Ready to Work

Before beginning a day’s work, review SI reviewing guidelines here and here.
To save time and prevent frustration, keep the necessary resources handy to help you do your work. For example, here’s some of what I have at my desk for my Freedmen’s Bureau work:

  • SI Transcription Center search tool – truly the Smithsonian’s best-kept secret! Use it to confirm such things as unusual surnames.


Mindful Reviewing

  • Assume that mistakes have been made during the transcription process. (Nobody’s perfect.) Get out your virtual red pen and get ready to mark things up!
  • Take your time. Don’t rush the process; it’s not a race, and there’s more than enough work to keep us all busy for a long time to come. (Heck, in the Freedmen’s Bureau Project we’ve been working on records from just the state of North Carolina for the last two years!)
  • Prior to starting a page, read any notes that appear in the “Notes on Transcribing this page” field at the bottom right of the screen. Other transcribers may have included helpful tidbits there.



  • Double-bracketed tags usually come in pairs. If you see an opening tag (such as [[preprinted]]), make sure that there’s also a closing tag ([[/preprinted]]). Learn more about how to use double brackets here.
  • As you review, keep in mind what Hippocrates said: “First, do no harm.” Beware of introducing new mistakes in your zeal to fix things.
  • Read the original document word for word and punctuation mark for punctuation mark while comparing it to its transcription. I use my cursor to follow along in the original document as I read and, believe it or not, I often read out loud, even naming each punctuation mark as it goes by. (My family has learned to ignore my mutterings.)
  • Resist the temptation to improve the spelling or punctuation of the original document. The long-ago writer might have been rushed or careless or – in the case of authors of some of the Freedmen’s Bureau documents – only semi-literate. Preserve original spelling and sentence structure. (Consider, however, flagging “extra-special” usage in the Notes field for the benefit of other transcribers.)



  • Ask yourself, does what I’m reading look right? Does it make sense? If a phrase seems out of place, it might not have been transcribed correctly. Think more about what might be going on in the original document and flag anything that seems “off” in the notes field. (I’m always especially on the lookout for unusual names.) As you get more familiar with reviewing particular projects, you’ll develop an “ear” for the language used.
  • Consider reading through longer documents twice before either marking the transcription as complete or bumping it back for further review. Often, I’ll read through a transcription (noting anything hinky on my trusty legal pad), take a break, and then come back to the computer to look things over one more time before completing my work on that page.
  • Take frequent breaks. I get up from my computer every 15 minutes or so to walk around (and to get more coffee!). Remember, your eyes need rest from the close reading you’ve been doing.
  • Take advantage of SI tools. For example, don’t forget about the handy zoom tool:



  • Use it to get up close and personal with hard-to-read handwriting. (After you’ve completed your review, though, make sure to zoom back out and take a quick look at the entire page to ensure material at the very top and bottom of the original document appears in the transcription.)

  • Reach out to SI staff with the Feedback tool if you need clarification on anything. (Just click the tab to the left of the page you’re working on.) If you have a question, chances are other transcribers and reviewers have wondered the same thing, but have been too shy to ask.

Do Your Best - And Then Let It Go

Remember that, at the end of the day, our job is to provide simple access so that researchers can find what they want and then do their own work with the original documents. Our goal is to provide easy-to-read, searchable documents. Do your best and then move on.
How do you transcribe and review documents? Share your process by reaching out to transcribe@si.edu, leaving notes for fellow volunpeers in the notes section of each project page, or tweeting @TranscribeSI. 
Remember, #WeAllLearnTogether.
Learn more about the Freedmen’s Bureau Papers here.

-Beth Graham, Smithsonian Transcription Center Volunteer

The label "lifelong learner" describes Beth Graham best. She thrives on new challenges, and has held positions as varied as children's librarian, advertising agency proofreader, crochet pattern designer, and Crafty/Bluprint Instructor. Currently, Beth keeps busy by volunteering on the Freedmen's Bureau Project in the Smithsonian Transcription Center, knitting ever more socks for her overflowing sock drawer, and playing clarinet in the local New Horizons band. A native of California, Beth lives in Ontario, Canada.

* This is the first post in a series of blog posts from long-time volunpeer Beth Graham. While transcribing and reviewing over 4,000 pages of TC projects, Beth has gained insight & knowledge, and uncovered fascinating historical details. Follow along in this series to learn from Beth as she shares her personal motivations, expert tips, and transcription discoveries!*

Tuesday, July 2, 2019

Pioneering Women Photographers in Africa: Marli Shamir

Marli Shamir and Peul (Fula) woman, Mopti, Mali, 1970, EEPA 2013-009-0322
The Eliot Elisofon Photographic Archives (EEPA) is pleased to share the collection of the next featured photographer in our Pioneering Women Photographers in Africa series, Marli Shamir.  Shamir (1919-2017) was an Israeli photographer known for her extensive work in Burkina Faso, the Cote d’Ivoire, Gabon, and Mali, which she completed from 1966 to 1973. Her collection (EEPA 2013-009) includes 1,817 black and white negatives (35mm and 120mm), 1,519 color slides, several hundred prints, and manuscript materials. The negatives have been digitized and will available online later this year.

Bamako man mending fishing net, Mali, 1968, EEPA 2013-009-0410
Shamir was intrigued with both the peoples and architecture of the Sahel region of western and north-central Africa. Trained at the Contempora (Contempora—Lehrateliers für neue Werkkunst) (1934-1937), a school in Berlin affiliated with the Bauhaus art movement, and in Copehagen, where she studied microphotography, her photos do not just document, but artistically depict the inhabitants and architecture of the Sahel. A specialist in black and white photography, she highlighted the stark differences and contrasts in light and angles, purposely juxtaposing dramatically different shades, textures, and shapes.




Windows and shutters, Timbukto, Mali, 1967, EEPA 2013-009-0750

In 1938, Shamir's life was seriously disrupted when she was forced to immigrate from Nazi Germany to Israel, where she lived in a kibbutz for a period of time. From 1941 to 1943, she worked as a scientific photographer at the Weizmann Institute in Raichoven and then, at just 26 years of age, opened her own photography studio in 1945 in Jerusalem. She ran this successful business for several years before marrying Meir Shamir, a former Israeli diplomat and ambassador in 1953. It was while living in Africa with her husband from 1966 to 1973 that she produced her most recognized body of work.


Bambara woman painting a Bokolanfini textile, Bamako, Mali, 1969, EEPA 2013-009-1197

During Shamir’s stay in Mali, she met Pascal James Imperato, a doctor and historian of African art, with whom she collaborated on the article, “Bokolanfini: Mud Cloth of the Bamana of Mali” (African Arts,  1970) [1]. Shamir also exhibited her work in 1976 at the Israel Museum in Jerusalem in the exhibit SAHEL, which depicted the rural and urban architecture and people of Mali. The exhibition toured Europe later that same year. 

Man standing near ceramic rain pipes, Mopti, Mali, 1968,
EEPA 2013-009-0547


While most of the exhibitions of Shamir’s work have featured her photographs taken in Mali (especially in Djenne), Shamir was interested in exhibiting her images from the larger region, noting that doing so would provide the exhibit with important contextual information and add “some warm touch to it.” [Letter to Professor J. Brunet-Jailly, Director of Research at ORSTOM, October 13, 1998] [2].  This preference of inclusiveness is evident in her photographs: she took not just static shots, but also depicted the process of making art, of celebrations, of daily life; she strove to convey people’s stories.

Child by bread oven, Timbuktu, Mali, 1967-1970, EEPA 2013-009-0760
Joseph Brunet-Jailly, a French professor of economics, saw her exhibit and, deeply impressed, showed Shamir’s photographs to Albakaye Ousmane Kounta, the national poet of Mali. The images inspired Kounta to create poetry to accompany Shamir’s photographs. The resulting book, Djenne-Ferey –La terre habitee (France: Grandvaux, 2005), reflects the collaboration of the two artists and pays tribute to the people of Mali and its heritage. One of the Kounta's poems, "Les Saints" [3], alongside the accompanying image, follows:


San Friday Mosque, Mali, 1971, EEPA 2013-009-1653

Les saints


A chacun
Une couronne
Enrobée d'argile
Une caresse étirée
De la base jusqu'au sommet

A chacun deux trous de secrets 
L'un pour les voeux
Intimes qu'on murmure
L'autre pour les offrandes
Qu'on glisse dans l'ombre

Translation:
The Saints

To each
A crown
Clay clad
A stretched caress
From the base to the top

To each two holes of secrets
One for the wishes
Intimate whispering
The other for offerings
Slide in the shade

From 1977 to 1981, Shamir lived in Strasbourg where she worked with a Canadian researcher to study the new style of architecture in Mali. This work is now stored at the Center of Documentation in Strasbourg. After living for a few years in Paris in the early 1990s in order to familiarize herself with new techniques in color photography, Shamir returned to Israel with her husband. Shamir continued photographing local urban scenes in her neighborhood of Baka, Jerusalem late into her life, until she passed away at the age of 98 in 2017.

Bamako man wearing blown up "Boubou" on bicycle, Mali, 1966-1971, EEPA 2013-009-0396
We hope that you enjoy Shamir’s photographs as more are posted online. Be sure and check out the finding aid for more details. The EEPA holds an additional collection (EEPA 1995-025) of prints of Shamir’s work.  You can view that catalog record here.


The EEPA is open for researchers by appointment only, Tuesday-Thursday, 10-4. Please see the EEPA website for contact information.

[1] Pascal James Imperato and Marli Shamir, "Bokolanfini: Mud Cloth of the Bamana of Mali",  African Arts 3, no. 2 (Summer 1970): 32-41, 80.
[2] Marli Shamir Collection, EEPA 2013-009, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
[3] Marli Shamir and Albakaye Ousmane Kounta, Djenne-Ferey –La terre habitee (France: Grandvaux, 2005), 22-23.


Eden Orelove
Photo Archivist
Eliot Elisofon Photographic Archives
National Museum of African Art