Last week, I published a post on how to conduct photo orders in the State Archives (if you missed it, find it again here). I promised I would follow up with a second post on how to use this information to place a photo order, how these images can be used, what we do and do not allow, and more.

So, here we go again!

As you learned in my previous post, quite a few photos can be viewed and accessed on our website. We are happy that these items can be used and viewed in this way, as it does help people researching images. But, how do you actually get the image? And what are you able to do with it once you have it?

Ordering Images

Images provided by us are part of our collections, and if we need to provide a copy, we do charge a fee.

At this time, you may order one of four types of images.

1. A watermarked thumbnail for reference, which is typically scanned at the lowest resolution with the agency name stamped across it. This is for reference to show you what is in an image that heretofore has not been scanned or posted on Digital Horizons. We do not charge for this service. (The watermarked image shown here is SHSND 10468-00357).
2. A paper print, which is typically black and white ink on white paper. For a paper printout, the clarity of the image is pretty good, but this is printed on regular printer paper, and again is just intended for research purposes. The fee is $1 per image.

3. A low resolution scan of the print or negative, such as the image shown here of President George H.W. Bush in Bismarck during the Centennial Celebration in 1989, SHSND 31843-016-00002. (The images used in our blog posts are all low resolution.) This is typically provided in a jpg format and is sized around 200 dpi or less. This indicates that you may see less specific detail, and enlarging the image makes it more pixelated. This image can probably still be sent to you in your email as an attachment without filling your inbox—kind of similar to most normal or lower resolution photos you might take on a smart phone. The fee is $8. If it suits your needs, you can download images from Digital Horizons. They are about the size of a typical low res scan, and we do not charge you for this service.

4. A high resolution scan of the print or negative. This image is probably too large to send to you as an attachment, and will likely need to be sent to you via our share site or on a disc. These comprise the majority of the photo orders we fill. They are typically sized around 600 dpi. These images are crisper, clearer, can be enlarged easier, and are considered suitable to print. Though we are capable of scanning items at a higher setting, this is typically the standard. (You can see this in this detail from photo SHSND 1952-05018, a photo by Frank Fiske of Brave Buffalo. The details of his face are still very clear and crisp. A high resolution scan fee is $20 per image.

If you want to order an image, come to the Archives in person or email or call us with the photo information. We may ask you to fill out our order form, available here on our website. Often, an email with the photo number is plenty.

The photo number consists of a collection number and item number (although letters are occasionally part of the name). They sometimes are longer and shorter, depending on what they are a part of. However, they typically look like one of these examples:

1952-00001 → 1952 is the collection, and this is the first item in that collection.

2005-P-001-00001 → 2005-P-001 is the collection, and this refers to the first item in that collection.

A0002-00001 → A is the collection; there are a series of linked images in this collection so while there may be several item numbers under this second item in the A collection, this is the first image.

10958-31B-25-00001 → This is the first photo in folder 25 of Box 31B from manuscript collection 10958 (William Shemorry). Not all manuscript numbers are as long as this one, which does differ slightly in its numbering. Most will look like a typical photo collection number and item number.

Find the photo number on Digital Horizons by scrolling down the page and selecting the item number (circled).

If you want to order an image that is not on Digital Horizons, you’ll need the photo number on our website. If the image itself is posted, this number will be found near or underneath it on our webpage or even on our Facebook posts. The photo numbers are also listed out under the photo collections, where you will see the summary of what is in the image (as in the picture below).

Once you have found this number, you can email us at archives@nd.gov (this is the preferred method), call us at 701.328.2668, or bring or mail the order form to State Archives at 612 E Boulevard Ave, Bismarck, ND 58505. You can send these orders to my attention.

We require prepayment for photo orders, so don't be surprised if you must make your payment before you get to see the image.  Once your order and payment are received, we prepare your images. Typically, they are completed within two to three weeks, but this time can vary, and it may be more or less time to complete a photo order.

Using images from the State Historical Society

While you may obtain photos from us, neither copyright nor ownership is transferred to you. These photos remain part of our collection, and copyrights remain with the donor, publisher, author, or author's heirs. So we do have rules governing use of our collections.

1. Most, but not all, of our images are available for purchasing copies and for use.
2. Images must be used respectfully. They cannot be altered or rearranged in any way (although you can use a detail of a photo and mark it as such).
3. Personal use allows images to be used privately, for personal means, or for research. No use fees or forms are required for this use beyond the original scan fee.

4. Public use means an image is used in a public area and/or potentially for profit, such as display in an office, store, restaurant, or similar building; publication in a book; or use in a documentary. This use requires patrons to fill out our one-time use form. Fees for this use are listed on our website.
5. Online use is allowed in specific ways. Images that may be posted online should be used in low resolution. If an image is posted on Facebook or a blog post or on a personal site, it must be cited as from the State Historical Society of North Dakota plus its photo number. Use fees are variable, but typically use fees are waived for online use. We may require users to fill out our one-time use form.
6. All images must be cited as being from our agency and show the full photo number. (State Historical Society of North Dakota 00001-00001 is an example citation.) This is for public use, but it is helpful to retain this number for people interested in obtaining an image for private use as well.
7. We do not allow State Archives images to be reproduced on clothing, or reproduced and sold in any other way.

Just remember, if there are ever any questions on photo use, we are here to help! Feel free to contact us at any time.

A photo is worth a thousand words, as the old saying goes. Photos can also be invaluable—especially for a researcher searching for old images of family members or historic images of places and events.

We receive many requests for photographs. We have a lot to choose from—the estimate is that our collection holds around two million photos (including glass plate negatives, prints, jpgs, tiffs, and all kinds of other materials). Not all of our images are scanned, however, and not all can be viewed on our website at this time. So how can you find an image you are searching for?

Right now, you can search in a multitude of ways. While it takes a bit of looking and a little extra work, it’s not nearly as difficult as it seems. And some of it can be done from home!

1. Digital Horizons. Digital Horizons is the easiest place to start for photo searches.

This website is a conglomeration of select images from our collections, as well as other organizations around the state, such as the Institute for Regional Studies at NDSU, the Bismarck Public Library, the North Dakota State Library, and local county historical societies. Now, I did say “select.” Not all images from every institution in the state are available here. However, it’s a great place to begin any search. You can type in a keyword search in the search bar (see Advanced Search) and can even focus on specific collections. Images are here in low resolution, but you can see them, any information we may have on them, and also can find what institution they are from, as well as the photo number.

Scrolling down on this page will show necessary information as to where this image came from. To order this image, you will need the Item Number and will want to request it from the correct repository institution.

2. Photo indexes listed on our website. If you just want to know what sort of images might be available, this is a good place to start as well. You will likely not find the actual photo to look at, but most of our images are indexed and described somewhere on our website. While photo collections can exist in manuscripts and state series, and are not listed within this site, the bulk of our photos can be found in their own collections. View this at history.nd.gov/archives/photocollections.

3. Keyword searches on our website. As I noted, not all of our photos are found in photo collections. Some are listed under the finding aids of other collections. So it is indeed worth doing a keyword search throughout our website. The best ways to do this are twofold.

1. In conjunction with searching a specific page (“control-f” on your keyboard will typically pop up the search box, and then highlight whatever string of words you are interested in).
   
   
    
2. Do a keyword search across the website. You can type in keyword searches and do an in-site google search for topics. Go to history.nd.gov/archives and you will see two search bars. While you can use both, to search just the Archives collections, you will want to use the one on the lower right side for your search.
   
   

4. Search at the Archives. We do have a few other sources in the Archives that you can search. We have some paper files and some scanned jpgs that may not be available on Digital Horizons, but can only be viewed on a computer in our State Archives Reading Room. We also can help you with use our new database, Re:discovery, which allows staff to search for inter-agency topics. Eventually, Re:discovery will be accessible to the public as a search tool and will change how photos can be searched.

For now, these are your best options.

However, even when you are searching with these methods, there are a few things to keep in mind.

1. Be succinct, and try a few key words. Being too specific (E.g., “President Theodore Roosevelt visiting North Dakota in 1902”) with your query in any of these searches will limit your results. Too general (E.g., “north dakota”) will bring in too many results. Find a happy medium. (E.g., search “Roosevelt,” “Teddy,” “President visit,” and “Roosevelt visit”).
2. You can’t always see everything right away. Typically if an image is not yet scanned, I can send a small number of low-res thumbnails to individuals seeking photos, so they can see them before they order. Please remember to allow extra days for this service, as this does take time!
3. Keep the photo number on hand for ordering. The photo number is how we identify and communicate about photos. It is listed on our website, on Digital Horizons, and on the photo itself. We need this information for research and orders.

I hope this helps you find the photos of your dreams! Look for my next post to see how you can use this information to order photograph scans. You will learn how these images can be used, what we expect, what we do and don’t allow, and how to place an order.

When I was in college people often asked me, “What will you do with your degree…teach?” As an aspiring living historian/reenactor, the answer I always gave was “no,” because I did not plan to become a schoolteacher or professor. But looking back on it, I realized that the dissemination of historical knowledge to people through reenactment is teaching—though perhaps not in a traditional sense.

The terminology for people who impart historical knowledge through performance varies. The hobby (as it is often called) has many faces: soldier, trapper, tinsmith, laundress, or lady, to name a few. Most people involved in historical reenacting do so for a variety of reasons. They may like camping; they may like firing historic weapons; or they may like being with friends and family. Whatever the reason, you can be certain that most people dressed in period clothes do not do so for comfort.

6th Infantry re-enactors at the Yellowstone Lodge #88 Historic Masonic Site, adjacent to Fort Buford State Historic Site. Yellowstone Lodge #88 was on the Fort Buford Military Reservation.

Wearing a wool uniform or leather tunic is not comfortable. Women who portray officers’ wives wearing corsets and several petticoats or laundresses toiling over a hot fire are not comfortable. So why are they doing this? I know a former art teacher who makes pottery and sells it at events, but he also loves the camaraderie and history aspects of being a reenactor. Others do it because they enjoy the activities associated with it, like camping, shooting, acting, or modeling period clothing. If you talk to most living historians, however, you would find that the camaraderie of the historical reenactor world is the biggest draw—meeting and interacting with others who are deeply interested in all things historical.

The majority of historical reenactors are ordinary people who relive history for fun and to get away from a fast-paced, technological world. Like anything, though, this hobby has extreme participants.

At one end of the spectrum are the “Farbs” (a fabricated impression). This is a term given to some participants who continue with historical reenactment after being politely told that their impression contains inaccuracies, like, “they would have never worn polyester” or “tennis shoes were not invented yet.” Most people will learn from these comments, often with help from fellow reenactors. They try to improve their impressions, even going so far as to research details on their own.

At the other end of the spectrum are the hardcore “living historians.” These individuals go to great lengths to make sure every detail of their outward garb is accurate. One of the contracted background artists for Gettysburg went as far as urinating into a jar full of brass buttons to get the correct patina. Most living historians, however, are in the middle somewhere (myself included). They do their research and listen to other historians to hone their impressions.

The author wearing an 1872 pleated blouse while reenacting frontier military at Fort Buford State Historic Site.

I have been a Civil War reenactor for 35 years. My own reasons for participating in this activity are simply put: I enjoy the firearms, the people, the fresh air, and the questions asked by visitors about the weapons, trappings, and uniforms.

If you have ever held a Civil War musket and looked at the workmanship of the wood and metal, you will see the amazing skill it took to craft such a firearm. There are many variations of muskets, and most were used during the Civil War. Camping with just a blanket and a dog tent is exhilarating (well, it used to be). The enormous number of questions asked by visitors and audiences is stunning. There is always one about wearing a wool uniform on a hot day, “Aren’t you warm in that?”

As his name implies, Robert Lee Hodge is reenacting a Confederate soldier. He looks and acts the part of a underfed, clothes scavenging, hard core Confederate veteran soldier.

It is wonderful when the questions someone asks are about something I know very well, and about which I can provide a lot of information. For me, that would be any question about Fort Seward, strategy during Gettysburg, or any other major battle of the Civil War. “Do you think Robert E. Lee was off his game during Gettysburg?” (Yes.) “Could the South have won with Stonewall Jackson?” (Yes.) And if the answer to a question is not clear, it makes me curious. I then go read the relevant historical accounts to glean an answer, if there is one. With those questions, I usually answer like any teacher would: “That is a good question. I don’t know for sure, but will look deeper into it.” In this sense, living historians are also lifelong learners. The truly best questions come from young people. It thrills me to answer their questions. From these encounters, I always feel there is hope that the work that living historians do to preserve the past will continue.

Next time there is a living history demonstration going on near you, I recommend that you watch and ask questions of the participants. You will see the light in their eyes and the passion they carry in their hearts for what they do.

A museum preparator handles objects from storage to display, ensuring that they are safe and secure while allowing the public to have the optimal viewing experience.

If I do my job right, no one should notice. There is a great deal of planning and teamwork with all aspects of an exhibit installation or general maintenance of the museum galleries and state historic sites. I rely on the expertise of supremely qualified experts to help in all aspects of my daily work. This is part 1 of a two-part blog to share some of those efforts.

For example, at the North Dakota Heritage Center & State Museum, I had to protect the mastodon while contractors worked on lighting fixtures above it. A protective tarp had to be deployed easily and quickly to protect the object while the contractors worked, but also had to be stowed above the mastodon when not in use so as to not affect the viewing of the artifact. We went with the tent method, which prompted many jokes, some of the best being: “He is the worst at hide and seek,” “He is cold,” or “He had fleas and we were fumigating.” So many jokers!

The video below shows the task of taking the mastodon off display in the old gallery, putting it in the Governors Gallery for storage while the State Museum expansion was completed, and then installing it in the current location. Needless to say, I didn’t want to take it completely apart to move it again. This video shows the solution. We built a gantry on wheels, attached the mastodon, and took him for a ride…easy-peasy!

I research small fossil teeth; VERY small fossil teeth. At times these fossil teeth can be submillimeter in size. While a benefit of this is that they do not take up much storage space, one downside is that they can be somewhat difficult to see and study. As I discussed in a previous blog post sometimes it is difficult to even find them in the first place. An obvious solution to the problem of studying these tiny teeth is the microscope. However, there are still problems with viewing teeth of this micro size. Often when looking at these teeth through the microscope, not all of the tooth will be in focus at once due to the narrow focal point. This makes studying these small teeth difficult, as a researcher can only view a small portion of the tooth’s surface at a time. Thankfully, there is a solution to this problem.

By taking a series of photos at different “elevations” along the surface of the tooth, it is possible to create an in-focus image. This is accomplished with a computer program that seamlessly blends or “stacks” these photos together. What you wind up with is an in-focus image that is the result of combining all the focused points of each photo together. In general, the more images you take of the tooth and stack together, the better your final photo. For demonstration purposes please see figures 1-4.

Figure 1: Level “A” is the lowest in-focus slice. Note that only the metal pin (lower left) and the bubbled glue and pin head (upper right) are in focus.

Figure 2: Level “B” is the middle in-focus slice. Note that only the in color sections of the tooth are in focus.

Figure 3: Level “C” is the top in-focus slice. Note that only the in color sections of the tooth are in focus.

Figure 4: This is the final “stacked” image and is the result of putting all the other images together. Essentially, A + B + C = D. Note that now the entire tooth is in focus.

It was a morning of total frustration. I couldn’t read the caption beneath the photo in a seventh-grade geography book.

In hindsight, the reason is clear. I was six years old, a first grader at Hiddenwood School #2, and l hadn't yet learned to read. The photograph I was puzzling over was of South Dakota’s Mount Rushmore. The “big kids” were reading the geography text; I was stuck with Fun with Dick and Jane.

Teacher and students in a one-room country school (SHSND 0032-BK-05-07)

I was reminded of this experience during a recent visit to the Inspiration Gallery: Yesterday and Today in the North Dakota Heritage Center & State Museum. Next to the Nancy Hendrickson house is a photograph of a teacher and her nine students in a one-room country school. A date on the blackboard reads “October 20, 1910.”

One-room country schools were still prevalent in North Dakota in the mid-1950s. It is estimated 3,795 of these school buildings existed in 1955; 2,355 of those were actually in session.¹ I attended the one-room Hiddenwood School #2. Hiddenwood #1 was three miles north; #3 was three miles south.

Even though I attended a one-room school decades later, my memories of Hiddenwood #2 are exactly as pictured in the 1910 photograph: the chalkboard (ours was green); the wooden desks; the stern, no-nonsense teacher; the self-conscious students; and the stack of books.

Even the number of students is the same: two of us in first grade, two in seventh grade, and one each in the grades between. The ratio of boys to girls was different, though; we only had one girl, Sylvia, who was in fifth grade. The rest were boys from farms as far as 2.5 miles away.

Washington, Sir Galahad, and "Regulator" clock

Nine wooden desks faced the front of the room. On the wall over the chalkboard was the wooden Regulator clock that our teacher wound every morning. On either side of the clock were two pictures: Gilbert Stuart’s George Washington on the right, George Frederick Watts’ Sir Galahad on the left. The meaning of the Stuart picture was evident. We weren’t so sure about the Sir Galahad picture.

Recent research in the State Archives revealed the reason for Sir Galahad’s placement next to the clock:

In any event the teacher should decree that nothing but beautiful things shall be hung upon the walls. Better bare walls than debased or debasing art; better nothing in the way of decoration than decoration which is worse than nothing. The following list may prove useful to the country teacher who wishes to be able to name one desirable work of art…²

The list included Watts’ Sir Galahad.

As I wrote in my last blog post, I grew up in a slower, simpler time. I described my boyhood as one that could have taken place in the mythical community of Andy Griffith’s Mayberry. This simple country school was a big part of the mystique, and there was no “debasing” art in it.

I remember the smell of the green sweeping compound scattered and then swept up before leaving for the weekend, the long walk to school every day (460 feet, door to door), and the house flies we imprisoned in the ink wells on our desks.

My most vivid memory is of the McLean County bookmobile that stopped at our school once a month. We were each limited to borrowing 10 books per visit. We had read and reread the books in our country school library, many of them missing covers and pages. The traveling bookmobile opened up a world that satisfied my curiosity about Mount Rushmore and introduced me to many other wonders.

Hiddenwood #2

I was frustrated to read the 2014 news story of the burning of the old schoolhouse. The building was beyond repair and was becoming an eyesore. I was content, though, to be able to read the story of its end, an ability I owe to my five formative years at Hiddenwood #2. While we can’t go back in time, I’m delighted to be able to use the State Archives to research information, find photos, and learn more about my childhood school.

¹ Warren A. Henke and Everett C. Albers, The Legacy of North Dakota’s Country Schools (North Dakota Humanities Council, 1998), v.
² O.J. Kern, Among Country Schools (Boston: Ginn & Company, 1906), 102.