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Giovanni Paolo Di Stefano is curator of musical instruments at the Rijksmuseum Amsterdam. Furthermore, since 2007, he has been teaching History and Technology of Musical Instruments at the University of Palermo in Italy. He studied at the University of Palermo and University of Rome “La Sapienza” where he earned his Ph.D. in Musicology in 2007. From 2008 to 2012 he was a post-doctoral fellow at the University of Palermo and worked as a freelance consultant for museums and collections of musical instruments. In 2014, he received the Italian National Scientific Habilitation to Associate Professor of Musicology and History of Music. Since 2016, he has been a member of the advisory executive board of ICOM-CIMCIM (the International Committee for Museums and Collections of Music and Musical Instruments). His writings on the history and technology of musical instruments have been published in museum catalogues, conference proceedings, encyclopedias, miscellanies and international journals such as Early Music, The Galpin Society Journal, Musique Images Instruments, Journal of the Violin Society of America, among other journals.
2+3D Photography 2017 – INV 1 Shooting the sound. A report on the Rijksmuseum...
2+3D Photography 2017 – INV 1 Shooting the sound. A report on the Rijksmuseum...
rijksmuseum
Following a major capital campaign, historic restoration and modern renovation, Cooper Hewitt went through many types of transformation. One of these was of course a digital transformation, in which the museum found itself primed to develop a new ways of thinking around its collection, its in-gallery experience, and just about every other aspect of the museum one could think of. By its reopening in 2014, Cooper Hewitt was ready to present itself as “The Museum of the Future.” But what is a “museum of the future” and what’s involved in making one? Cooper Hewitt knew that in order to survive and in order to flourish as a premier design museum, not only in New York, but around the world, it would have to cater to a new, savvy audience, one which was online by default. In Micah Walter’s presentation, Touch the Objects Micah will attempt to consider the variables, players, and difficult decisions that had to be made in order to reach this new, mobile, and tech savvy audience. The work includes a major development on the museum’s online collection, as well as interfaces and connective tissues to bring these things to light. Most importantly though, the museum realized early on that it would have to digitize its entire collection of over 200,000 objects so that this audience could hold them in their hands. Touch the Objects is about making the collection accessible to everyone. It’s about bringing the collection back to its beginnings as a teaching, working collection. And while visitors might not be able to actually “touch the object” the museum will attempt to get them pretty close!
2+3D Photography 2017 – INV 2 Save for later: How Cooper Hewitt’s Pen allows ...
2+3D Photography 2017 – INV 2 Save for later: How Cooper Hewitt’s Pen allows ...
rijksmuseum
The first exhibition to explore Louis C. Tiffany's glass mosaics – an extraordinary but little-known aspect of his artistic production – opens at The Corning Museum of Glass in May 2017. Tiffany's Glass Mosaics will include objects ranging from intimately scaled mosaic fancy goods to large-scale mosaic panels and architectural elements. Many of Tiffany's mosaic murals are still installed in their original settings and will be represented in the exhibition by photographs and through the use of digital displays. In support of this exhibition and the accompanying publication, CMoG's photographers captured mosaic installations in eight locations across New York State, and six more sites in Philadelphia, Baltimore, Princeton, and Chicago. Glass mosaics are difficult to photograph well in any circumstances, but this project presented additional challenges. Most of the large mosaic panels are high above floor level, existing lighting is insufficient, available power is limited, and almost all of the sites are open to the public. Strategic planning for this project will be examined in this talk, as well as practical solutions which enabled us to adapt to a wide variety of conditions while capturing well-lit, high quality images with consistent color and detail – all within the constraints of a limited budget. Adaptation of studio lighting techniques for highly reflective, often iridescent, glass mosaics on location will be discussed, as well as equipment modified specifically for this project. Images from this project will be presented as part of an immersive digital exhibition experience and will live on in the accompanying publication, but they also serve much a broader purpose as documentation of at-risk cultural treasures. Many of these mosaics had never before been professionally photographed, and the images are being used to promote awareness and appreciation for the various sites, as well as serving as a record of current condition for conservation efforts.
2+3D Photography 2017 – INV 3 Location photography Of Louis Comfort Tiffany's...
2+3D Photography 2017 – INV 3 Location photography Of Louis Comfort Tiffany's...
rijksmuseum
Carola van Wijk has been working as a staff photographer at the Rijksmuseum since 2007. She is responsible for the photography of 3D objects and paintings and for the museum’s conservation photography. Together with Henni van Beek, she is responsible for the implementation of the Metamorfoze guidelines. They wrote a practical manual to establish a shared standardized workflow. She is one of the initiators of the Manual photographing 3dimensional objects for the Rijksmuseum, that will be published during 2and3D Photography 2017. The photographic work of Carola van Wijk for the Rijksmuseum has, amongst others, been published in Costume & Fashion, Bianca M. Du Mortier, Rijksmuseum 2016, Paris 1650-1900: Decorative Arts in the Rijksmuseum, R. Baarsen, 2012, Yale University Press, and Art Nouveau In Het Rijksmuseum, J.D. van Dam & J.J. Heij, Rijksmuseum, 2010. She worked closely together with the responsible authors and curators for these publications. In addition to ongoing work for the Conservation Department, Carola van Wijk is involved in the photography of musical instruments and the photography of the costumes in the Rijksmuseum collection. This work, in close collaboration with conservators and curators, will be published in collection books.
2+3D Photography 2017 – INV 4 Painted room: challenges in every corner - Caro...
2+3D Photography 2017 – INV 4 Painted room: challenges in every corner - Caro...
rijksmuseum
The Getty Research Institute’s (GRI) exhibition Berlin/LA: Space for Music (25 April–30 July 2017) celebrates the fiftieth anniversary of the sister city partnership between West Berlin and Los Angeles, established in June 1967, by focusing on two buildings that have captured the public imagination and become iconic features of the urban landscape of both cities: the Berlin Philharmonic (1963) in Berlin, designed by Hans Scharoun, and the Walt Disney Concert Hall (2003) in Los Angeles, designed by Gehry. Also being explored is Frank Gehry’s newest concert hall, the Pierre Boulez Saal and the influence Scharoun had on its design. Original physical working models created by Gehry in designing the Walt Disney Concert Hall give visitors insight into how its expansive interior was created, however no working or presentation models of Scharoun’s Philharmonie are extant. The interior of Hans Scharoun’s Berlin Philharmonic, which ranks among the most influential concert hall designs of the twentieth century, is a very complex and multifaceted space. The bold decision made by the GRI’s curatorial team to commission a 3D digital and printed model of the Philharmonic interior allows the curators to communicate to gallery visitors the innovative nature of this complex space in a manner much more evocative than photographs alone could convey, making this a truly groundbreaking undertaking.
2+3D Photography 2017 – INV 5 Visualizing Spaces for Music: The Berlin Phil...
2+3D Photography 2017 – INV 5 Visualizing Spaces for Music: The Berlin Phil...
rijksmuseum
Spectral data has arrived with the new iccMAX specification. This will lead to significant improvements in multi-ink printing where color separation will be based on spectral matching. It also provides a framework for combining scientific and studio photography for image archiving. Multispectral photography bridges hyperspectral imaging, used in conservation science, and RGB imaging, used in the studio. Two approaches will be described. The first is dual-RGB where an RGB camera and two colored filters (or lights) combine to form a five-channel multispectral camera. The second is a conventional system consisting of a monochrome camera and filter wheel. This new seven-filter multispectral system was designed with three quality criteria: high color accuracy, moderate spectral accuracy, and low color transformation noise.
2+3D Photography 2017 – INV 7 The 3D Image Capture Moonshot: Managing the Ene...
2+3D Photography 2017 – INV 7 The 3D Image Capture Moonshot: Managing the Ene...
rijksmuseum
Multispectral imaging is a digital imaging technique that adds depth to understanding cultural heritage collections. It is a unique technology combining components from cross-disciplinary fields, thus requiring diverse standards, practices, and workflows. This poses challenges when integrating this system into a digitization lab with pre-established methods of operation, but is nonetheless feasible, as demonstrated by the collaboration between the Preservation Research and Testing Division of the Library of Congress (USA) and the digitization labs of The John Rylands Library, University of Manchester (UK).
2+3D Photography 2017 – SP 1 Multispectral Imaging Workflow Integration - Meg...
2+3D Photography 2017 – SP 1 Multispectral Imaging Workflow Integration - Meg...
rijksmuseum
The Digital Humanities Lab (DHLab) is a research group within the faculty of Humanities of the University of Basel. The group was founded in the 1920 as scientific photography lab. In the project “Digital Materiality”, we applied and enhanced Reflection Transformation Imaging (RTI) enabling this technique to capture artwork that is characterized by surfaces that strongly interact with light. Standard photographic approaches are unable to capture the dynamic component of the light-surface interdependence specific for these kinds of objects. RTI is a promising approach to go beyond the limitations of conventional photography. However, RTI has some drawbacks that are critical in the context of the reproduction of surfaces composed of materials of different kind. Typical RTI images reduce any mixture of materials with an average gloss for the whole surface. Our improvements of the technology take into account more sophisticated but still robust and simple reflection models for the realistic visualization of localized diffuse and specular surfaces within the same digital reproduction. The quality of a RTI rendering can be judged by various parameters. The most important is certainly the photorealism of a specific viewing situation. In photography one of the most important aspects is the visual appearance of color. Proper color transformation and reproduction is in a state-of-the-art digital photography workflow. However, when RTI was first developed color management was not a common process in photography workflows. Therefore, in typical implementations of RTI, color is handled as RGB data without any further explanation about what color primaries are chosen to span a color space. We will show what workflow can be used to optimize color representation in RTIs to enhance photorealism.
2+3D Photography 2017 – SP 2 Color Management for cultural heritage objects u...
2+3D Photography 2017 – SP 2 Color Management for cultural heritage objects u...
rijksmuseum
Recommended
Giovanni Paolo Di Stefano is curator of musical instruments at the Rijksmuseum Amsterdam. Furthermore, since 2007, he has been teaching History and Technology of Musical Instruments at the University of Palermo in Italy. He studied at the University of Palermo and University of Rome “La Sapienza” where he earned his Ph.D. in Musicology in 2007. From 2008 to 2012 he was a post-doctoral fellow at the University of Palermo and worked as a freelance consultant for museums and collections of musical instruments. In 2014, he received the Italian National Scientific Habilitation to Associate Professor of Musicology and History of Music. Since 2016, he has been a member of the advisory executive board of ICOM-CIMCIM (the International Committee for Museums and Collections of Music and Musical Instruments). His writings on the history and technology of musical instruments have been published in museum catalogues, conference proceedings, encyclopedias, miscellanies and international journals such as Early Music, The Galpin Society Journal, Musique Images Instruments, Journal of the Violin Society of America, among other journals.
2+3D Photography 2017 – INV 1 Shooting the sound. A report on the Rijksmuseum...
2+3D Photography 2017 – INV 1 Shooting the sound. A report on the Rijksmuseum...
rijksmuseum
Following a major capital campaign, historic restoration and modern renovation, Cooper Hewitt went through many types of transformation. One of these was of course a digital transformation, in which the museum found itself primed to develop a new ways of thinking around its collection, its in-gallery experience, and just about every other aspect of the museum one could think of. By its reopening in 2014, Cooper Hewitt was ready to present itself as “The Museum of the Future.” But what is a “museum of the future” and what’s involved in making one? Cooper Hewitt knew that in order to survive and in order to flourish as a premier design museum, not only in New York, but around the world, it would have to cater to a new, savvy audience, one which was online by default. In Micah Walter’s presentation, Touch the Objects Micah will attempt to consider the variables, players, and difficult decisions that had to be made in order to reach this new, mobile, and tech savvy audience. The work includes a major development on the museum’s online collection, as well as interfaces and connective tissues to bring these things to light. Most importantly though, the museum realized early on that it would have to digitize its entire collection of over 200,000 objects so that this audience could hold them in their hands. Touch the Objects is about making the collection accessible to everyone. It’s about bringing the collection back to its beginnings as a teaching, working collection. And while visitors might not be able to actually “touch the object” the museum will attempt to get them pretty close!
2+3D Photography 2017 – INV 2 Save for later: How Cooper Hewitt’s Pen allows ...
2+3D Photography 2017 – INV 2 Save for later: How Cooper Hewitt’s Pen allows ...
rijksmuseum
The first exhibition to explore Louis C. Tiffany's glass mosaics – an extraordinary but little-known aspect of his artistic production – opens at The Corning Museum of Glass in May 2017. Tiffany's Glass Mosaics will include objects ranging from intimately scaled mosaic fancy goods to large-scale mosaic panels and architectural elements. Many of Tiffany's mosaic murals are still installed in their original settings and will be represented in the exhibition by photographs and through the use of digital displays. In support of this exhibition and the accompanying publication, CMoG's photographers captured mosaic installations in eight locations across New York State, and six more sites in Philadelphia, Baltimore, Princeton, and Chicago. Glass mosaics are difficult to photograph well in any circumstances, but this project presented additional challenges. Most of the large mosaic panels are high above floor level, existing lighting is insufficient, available power is limited, and almost all of the sites are open to the public. Strategic planning for this project will be examined in this talk, as well as practical solutions which enabled us to adapt to a wide variety of conditions while capturing well-lit, high quality images with consistent color and detail – all within the constraints of a limited budget. Adaptation of studio lighting techniques for highly reflective, often iridescent, glass mosaics on location will be discussed, as well as equipment modified specifically for this project. Images from this project will be presented as part of an immersive digital exhibition experience and will live on in the accompanying publication, but they also serve much a broader purpose as documentation of at-risk cultural treasures. Many of these mosaics had never before been professionally photographed, and the images are being used to promote awareness and appreciation for the various sites, as well as serving as a record of current condition for conservation efforts.
2+3D Photography 2017 – INV 3 Location photography Of Louis Comfort Tiffany's...
2+3D Photography 2017 – INV 3 Location photography Of Louis Comfort Tiffany's...
rijksmuseum
Carola van Wijk has been working as a staff photographer at the Rijksmuseum since 2007. She is responsible for the photography of 3D objects and paintings and for the museum’s conservation photography. Together with Henni van Beek, she is responsible for the implementation of the Metamorfoze guidelines. They wrote a practical manual to establish a shared standardized workflow. She is one of the initiators of the Manual photographing 3dimensional objects for the Rijksmuseum, that will be published during 2and3D Photography 2017. The photographic work of Carola van Wijk for the Rijksmuseum has, amongst others, been published in Costume & Fashion, Bianca M. Du Mortier, Rijksmuseum 2016, Paris 1650-1900: Decorative Arts in the Rijksmuseum, R. Baarsen, 2012, Yale University Press, and Art Nouveau In Het Rijksmuseum, J.D. van Dam & J.J. Heij, Rijksmuseum, 2010. She worked closely together with the responsible authors and curators for these publications. In addition to ongoing work for the Conservation Department, Carola van Wijk is involved in the photography of musical instruments and the photography of the costumes in the Rijksmuseum collection. This work, in close collaboration with conservators and curators, will be published in collection books.
2+3D Photography 2017 – INV 4 Painted room: challenges in every corner - Caro...
2+3D Photography 2017 – INV 4 Painted room: challenges in every corner - Caro...
rijksmuseum
The Getty Research Institute’s (GRI) exhibition Berlin/LA: Space for Music (25 April–30 July 2017) celebrates the fiftieth anniversary of the sister city partnership between West Berlin and Los Angeles, established in June 1967, by focusing on two buildings that have captured the public imagination and become iconic features of the urban landscape of both cities: the Berlin Philharmonic (1963) in Berlin, designed by Hans Scharoun, and the Walt Disney Concert Hall (2003) in Los Angeles, designed by Gehry. Also being explored is Frank Gehry’s newest concert hall, the Pierre Boulez Saal and the influence Scharoun had on its design. Original physical working models created by Gehry in designing the Walt Disney Concert Hall give visitors insight into how its expansive interior was created, however no working or presentation models of Scharoun’s Philharmonie are extant. The interior of Hans Scharoun’s Berlin Philharmonic, which ranks among the most influential concert hall designs of the twentieth century, is a very complex and multifaceted space. The bold decision made by the GRI’s curatorial team to commission a 3D digital and printed model of the Philharmonic interior allows the curators to communicate to gallery visitors the innovative nature of this complex space in a manner much more evocative than photographs alone could convey, making this a truly groundbreaking undertaking.
2+3D Photography 2017 – INV 5 Visualizing Spaces for Music: The Berlin Phil...
2+3D Photography 2017 – INV 5 Visualizing Spaces for Music: The Berlin Phil...
rijksmuseum
Spectral data has arrived with the new iccMAX specification. This will lead to significant improvements in multi-ink printing where color separation will be based on spectral matching. It also provides a framework for combining scientific and studio photography for image archiving. Multispectral photography bridges hyperspectral imaging, used in conservation science, and RGB imaging, used in the studio. Two approaches will be described. The first is dual-RGB where an RGB camera and two colored filters (or lights) combine to form a five-channel multispectral camera. The second is a conventional system consisting of a monochrome camera and filter wheel. This new seven-filter multispectral system was designed with three quality criteria: high color accuracy, moderate spectral accuracy, and low color transformation noise.
2+3D Photography 2017 – INV 7 The 3D Image Capture Moonshot: Managing the Ene...
2+3D Photography 2017 – INV 7 The 3D Image Capture Moonshot: Managing the Ene...
rijksmuseum
Multispectral imaging is a digital imaging technique that adds depth to understanding cultural heritage collections. It is a unique technology combining components from cross-disciplinary fields, thus requiring diverse standards, practices, and workflows. This poses challenges when integrating this system into a digitization lab with pre-established methods of operation, but is nonetheless feasible, as demonstrated by the collaboration between the Preservation Research and Testing Division of the Library of Congress (USA) and the digitization labs of The John Rylands Library, University of Manchester (UK).
2+3D Photography 2017 – SP 1 Multispectral Imaging Workflow Integration - Meg...
2+3D Photography 2017 – SP 1 Multispectral Imaging Workflow Integration - Meg...
rijksmuseum
The Digital Humanities Lab (DHLab) is a research group within the faculty of Humanities of the University of Basel. The group was founded in the 1920 as scientific photography lab. In the project “Digital Materiality”, we applied and enhanced Reflection Transformation Imaging (RTI) enabling this technique to capture artwork that is characterized by surfaces that strongly interact with light. Standard photographic approaches are unable to capture the dynamic component of the light-surface interdependence specific for these kinds of objects. RTI is a promising approach to go beyond the limitations of conventional photography. However, RTI has some drawbacks that are critical in the context of the reproduction of surfaces composed of materials of different kind. Typical RTI images reduce any mixture of materials with an average gloss for the whole surface. Our improvements of the technology take into account more sophisticated but still robust and simple reflection models for the realistic visualization of localized diffuse and specular surfaces within the same digital reproduction. The quality of a RTI rendering can be judged by various parameters. The most important is certainly the photorealism of a specific viewing situation. In photography one of the most important aspects is the visual appearance of color. Proper color transformation and reproduction is in a state-of-the-art digital photography workflow. However, when RTI was first developed color management was not a common process in photography workflows. Therefore, in typical implementations of RTI, color is handled as RGB data without any further explanation about what color primaries are chosen to span a color space. We will show what workflow can be used to optimize color representation in RTIs to enhance photorealism.
2+3D Photography 2017 – SP 2 Color Management for cultural heritage objects u...
2+3D Photography 2017 – SP 2 Color Management for cultural heritage objects u...
rijksmuseum
There is little doubt; today’s 3D imaging spatial mappings are impressive. The current demonstrations of 3D photogrammetric point clouds recall the seductive sirens of the honeymoon period of 2D digital imaging in the early 90s. How can one not be wowed by the cruise-missile precision of such spatial mappings? But let’s snap out of it, like we did for 2D imaging. Any authentic digital image, especially those in cultural heritage imaging, requires an analytical pairing of not only spatial information at a point in space but also the light field, the energetics, associated with each point. It’s not only a single number, but a field of numbers that map color and light intensity not only at both oblique and non-oblique viewing angles. That’s the challenge. It is at the core of color capture management and exposure for 3D imaging. It needs to be right at capture or the remainder is just gilding. This is meant more as a provocative and catalyzing talk than necessarily an informative one. We will update the audience on the current strategies for doing such management, and we will describe the underlying complexities of performing spectral gonio-spectroradiometric calibrations and complementary targeting tools to progress the research that has been done to date. There are truly some exciting research efforts on this subject. Some of our best minds are embracing the challenge. Can we do it?
2+3D Photography 2017 – INV 7 The 3D Image Capture Moonshot: Managing the Ene...
2+3D Photography 2017 – INV 7 The 3D Image Capture Moonshot: Managing the Ene...
rijksmuseum
I’m very happy to introduce a new target with a new approach for object photography. This target makes it possible to measure white balance, correct exposure and gain modulation while shooting objects. It is designed for non-uniform lightning conditions and provides information on the tonal capture conditions under which the image was shot. This target requires the photographer to use new skills and craftsmanship as well as the traditional, familiar ones. The photographer decides from which viewpoint the object has to be shot, where to put the camera, how to frame the image and how to illuminate the object in the best possible way, the way it has always been with photography. The new skills and craftsmanship needed to work with this target entail deciding where to have correct white balance, exposure and gain modulation in the image. The photographer chooses where to place the target and how to use it. And, to do so, he needs to have full understanding of the benefits of correct tonal capture. The interesting part of this target is that its use is connected to the photographer’s goal, which is totally different from having a technical target strongly connected to uniform lightning conditions and clearly described camera settings as is the case with technical targets in 2D imaging. Quality, stability and repeatability are connected. The benefit of using this target is that once a perfect match between light, camera position and tonal capture settings is met, this situation can be repeated over and over again. This makes it possible to photograph objects in a structured and well-defined way based on the photographer’s goals and decisions. During the work shop I’ll demonstrate the target and explain how to use it. For more information go to www.preservationimaging.com. Acknowledgements Special thanks goes to Cecile van der Harten, Carola van Wijk and Henni van Beek for their inspiring support and confidence.
2+3D Photography 2017 – INV 8 A new target with a new approach for the photog...
2+3D Photography 2017 – INV 8 A new target with a new approach for the photog...
rijksmuseum
Since 1946, the Réunion des Musées Nationaux – Grand Palais photo agency has been officially responsible for promoting collections of France’s national museums. For more than 60 years, it has carried out photography campaigns inside national museums to further expand the agency’s collection, which is universally available at www.photo.rmn.fr. As a public body, its missions include preserving images of artwork for future generations and making the images available to all audiences, including individuals, scientists, and other professionals. France Collections 3D, a project of the Photo Agency of the Réunion des musées nationaux – Grand Palais has produced photorealistic 3D reproductions of several hundred artworks from the Louvre, the Orsay museum, the Guimet museum of Asian arts, the National Archaeological Museum of St-Germain-en-Laye, the National museum of the Middle Ages – Cluny, the National Renaissance Museum of Ecouen, among other museums. Anticipating the evolution of 3D technologies, France Collections 3D started in 2013 to initiate a 3D asset strategy for the French National museums collections: managing proper photorealistic 3D reproduction of artworks and maximizing their diffusion potential by making these 3D models available for a wide range of uses: photo or video renderings, interactive applications, augmented reality, virtual reality, hologram, and 3D printing. By mixing our photographers know-how and innovative 3D technologies and software, a robust photogrammetry and postproduction workflow has been structured, and many different types of artworks have thus been made available in 3D: from the 25,000 years old Brassempouy Venus in mammoth ivory to sculptures and paintings by Paul Gauguin. François Bougnères will present 3D reproductions of artworks and a complete photogrammetry and postproduction workflow.
2+3D Photography 2017 – SP 3 Photogrammetry and postproduction workflow for 3...
2+3D Photography 2017 – SP 3 Photogrammetry and postproduction workflow for 3...
rijksmuseum
The first online exhibition from the Getty Research Institute (GRI), The Legacy of Ancient Palmyra, highlights two rare collections from the GRI documenting an important archeological site that has recently undergone destruction amid the Syrian war. These collections include the first photographs of the ancient monuments of Palmyra, including many destroyed in 2015 and 2017 by ISIS. Because the GRI’s two collections are not accessible together anywhere else, the exhibition team sought to make these materials freely available with accompanying scholarly interpretation to anyone with Internet access. The GRI’s 100 etchings of Palmyra by artist Louis François Cassas were recorded during his late-18th century journey through the Ottoman Empire. The second collection comprises 29 photographs by sea captain, Louis Vignes, who documented Palmyra, as a side trip during an 1864 scientific expedition to the Dead Sea. The online exhibition takes advantage of the comparisons presented by these two collections to dive deeper into the archaeological and art-historical context of this site. Taking fourteen months to develop, the project considered how to take a visitor’s gallery experience – such as looking closely at an image and then standing back from a different perspective – and to translate this to desktop, tablet, and mobile devices. How could we evoke, but also move beyond a gallery experience? How might we offer an online exhibition that brings highly detailed 18th-century prints and 19th-century photographs into a 21st-century digital environment? A primary goal sought to build – through a responsive design – a site that would capture wayfinding and a narrative progression in a digital experience without forcing viewers onto a single “path” through the exhibition. This talk describes how the curators and the digital team addressed these challenges and how they informed decisions about design, layout, technical features, and image presentation.
2+3D Photography 2017 – INV 12 The Making of an Online Exhibition: The Legacy...
2+3D Photography 2017 – INV 12 The Making of an Online Exhibition: The Legacy...
rijksmuseum
In a few thousand years, 99% of the physical material of our cultural heritage we try to preserve today will be lost. An inconvenient fact for all stakeholders involved in the preservation of the actual objects which testify to the richness of our past; most will end up as undefinable dust. Destruction is omnipresent: earthquakes, tsunamis, fires, volcanos, time, hostile environments, flashlights, war, neglect, vandalism, collateral damage, and deliberate violations. Concerning the last, whether it is the destruction of heritage sites to make place for the Olympics in Beijing, the dynamiting of the Buddha’s of Bamiyan statues, the burning of the Timbuktu manuscripts or the demolishing of mausoleums of holy men in Syria and Iraq, people always seem to come up with justifying reasons. Our modern cities are built on the foundations of destructive progress. Strategies to overcome this must be formulated. The seven wonders of the world of which only the Giza Pyramids survived, have taken a central position in our understanding of great architectural accomplishments which were lost, to be remembered only thanks to ancient writings. Today the odds are more favorable. Over the last 150 years, architects, engineers, illustrators and archaeologists produced technical drawings of many heritage sites and artefacts. Digitalization projects and efforts are ongoing everywhere and imaging techniques allow reconstructions unthinkable up until recent times. But what to do with them? What is their accuracy? Do we have complete datasets linked with metadata? What is to be considered as a complete dataset? What has not been registered? Templates, protocols and standards should be developed to ensure their sustainability. When all of that is settled, if the original is lost, what gets preserved digitally, and what does not?
2+3D Photography 2017 – INV 13 A critical reflection on the use of 3D technol...
2+3D Photography 2017 – INV 13 A critical reflection on the use of 3D technol...
rijksmuseum
2+3D Photography 2017 – Notes Henrike Hövelmann
2+3D Photography 2017 – Notes Henrike Hövelmann
2+3D Photography 2017 – Notes Henrike Hövelmann
rijksmuseum
2+3D Photography 2017 – Notes Froukje van der Meulen
2+3D Photography 2017 – Notes Froukje van der Meulen
2+3D Photography 2017 – Notes Froukje van der Meulen
rijksmuseum
Stanford University has been actively digitizing its map holdings since 2008. To date, they have imaged approximately 90,000 maps and pages of map-related text. Given their oversized format, maps are often challenging cultural heritage artifacts to digitize. This presentation will explore the processes and techniques used to image the Ōmi Kuni-ezu 近江國絵圖 Japanese Tax Map from 1837. Undertaken in partnership with the Department of History at Stanford, the project pushed the limits of the digitization team’s technical expertise and resourcefulness, especially as its great size and fragility made it impossible to photograph in the imaging studio. This case study will highlight the current limitations of 2D imaging technology, ongoing problems of digitizing paper and cloth items of a certain size and fragility, and the important role of cultural heritage imaging in research, teaching and learning.
2+3D Photography 2017 – SP 5 Oversized Imaging at Stanford: the Ōmi Kuni-ezu ...
2+3D Photography 2017 – SP 5 Oversized Imaging at Stanford: the Ōmi Kuni-ezu ...
rijksmuseum
As exciting new computational imaging techniques emerge we all face the inevitable workflow challenges. In this presentation, Scott Geffert will highlight the Metropolitan Museum of Art’s Advanced Imaging Initiative and efforts to develop best practice leveraging international standards. Scott will highlight recently published international standards and will discuss new standardization efforts for cultural heritage imaging.
2+3D Photography 2017 – INV 18 From Project to Programmatic: International St...
2+3D Photography 2017 – INV 18 From Project to Programmatic: International St...
rijksmuseum
Photographing architectural models presented an intriguing challenge: capturing the interior. Tiny cameras typically shoot at a resolution too low to produce an acceptable result. After some Internet research, some experimentation in our fabrication lab, and much trial and error, I emerged with a solution. Using 3D-printed parts and a few other supplies, I was able to hack together an inexpensive, Raspberry Pi-driven camera rig for architectural models—and much more. My specific need for a small, flexible camera was built with the aid of the creative community and the result is ripe for experimentation and innovation to photograph other difficult spaces. Imagine capturing the detail inside a Ming vase or documenting the interior welds of a John Chamberlain sculpture. Faculty and students spent an immense amount of time creating these model spaces adding figures for scale and experimenting with lighting sources to give the viewer an accurate view of their vision for the structure. However, the viewer was forced to look through the windows and never truly experience the interiors. Enter experimentation. I started with what people have done and adapted to my needs. A pattern emerged of working until a question arose and then tracking down a solution. How do I run cable through the conduit? What about lighting? There's always a chance someone has found a solution and has shared it with the community. Whether digitizing student work at The Ohio State University or photographing ancient vases at the Kenchreai excavations in Greece, I've found there are always problems that require creative solutions. This project demonstrates how tech tools are exponentially more powerful when driven by the power of community. No one had created exactly what I needed, but by grabbing parts from work shared by others, I've been able to create tools with applications beyond architectural models.
2+3D Photography 2017 – INV 19 Hacking Technology for Documenting Difficult S...
2+3D Photography 2017 – INV 19 Hacking Technology for Documenting Difficult S...
rijksmuseum
Keep in Touch, see you next time, Cécile van der Harten
2+3D Photography 2017 – Keep in Touch, see you next time, Cécile van der Harten
2+3D Photography 2017 – Keep in Touch, see you next time, Cécile van der Harten
rijksmuseum
Photographing musical instruments with their large variety of materials, shapes, sizes and surfaces is a big challenge, especially if the target is the digitization of an entire collection within a reasonable timeframe. For inter-institutional research purposes, it is of utmost importance to make images from different collections comparable, which is no small task at all since, unlike paintings or sculpture, they have a multitude of possible positions and angles of view. One of the major outcomes of the EU-funded project Musical Instrument Museums Online (MIMO), which started in 2009, was the collaborative creation of a digitization standard for musical instruments. The workshop shows how this standard was created, which role it plays in a photographer’s daily working life, how to devise workflows for a large number of difficult objects and some showcases of lighting and photographing objects.
2+3D Photography 2017 – WS 1 Serial digitization of musical instruments and t...
2+3D Photography 2017 – WS 1 Serial digitization of musical instruments and t...
rijksmuseum
Lighting transparent glass objects for photography is always a matter of controlling contrast. Sometimes you need less contrast and sometimes you need more, but you always need to be able to control it. This is because the way we perceive glass is the result of how the glass itself transmits, refracts, reflects, and distorts light. Unlike most any other material, it is not possible to fully separate our perception of the glass itself from our perception of what we see through the glass. As museum photographers, we are trained to photograph objects on flat, neutral backgrounds (e.g. LAB 80 gray), and yet that approach creates incredible challenges when trying to capture subtle details such as engraving, tooling marks, optic ribbing, among other things. Often, it appears as if all detail and “glassiness” disappears once the object is placed on the background. This phenomenon occurs because every variation of thickness, every curve, every bit of engraving – really every change in the surface – in transparent glasses acts as a lens, however imperfect, and distorts the view through the glass. The field of view of each of these “lenses” must include a contrast of highlight and shadow and also be at a sufficient distance from the “lens” to resolve properly. If there is little contrast seen through the “lenses,” then there will be little contrast visible in the glass itself. Likewise, reflections in the glass must be carefully controlled in order to reveal, rather than obscure detail. In this workshop, we will present several lighting setup examples and discuss various approaches taken by The Rijksmuseum and The Corning Museum of Glass, with the emphasis on lighting solutions vs. multiple exposures and post-capture imaging.
2+3D Photography 2017 – WS 10 Photographic Lighting Techniques for Transparen...
2+3D Photography 2017 – WS 10 Photographic Lighting Techniques for Transparen...
rijksmuseum
I have been employed as a photographer all my working life and am currently Manager for Digitisation of Archives and Collections (formerly Chief Photographer) at the Victoria & Albert Museum London (1972 to present). I am a Co-director of Cultural Heritage Digitisation Ltd with my business partner James Stevenson, formed in 2013. My Poster Presentation looks at the photography archive of the V&A Photographic Studio since 1857 when the Studio was founded. I look at one specific object – The Eltenburgh Reliquary acquired in 1861. Of particular interest is the number of times this object has been photographed over the last 140 years and how this shows the history of both the photographic process and the management of photographic production.
2+3D Photography 2017 – P 1 Victoria & Albert Museum Photographic Studio Arc...
2+3D Photography 2017 – P 1 Victoria & Albert Museum Photographic Studio Arc...
rijksmuseum
I have been employed as a photographer all my working life and am currently Manager for Digitisation of Archives and Collections (formerly Chief Photographer) at the Victoria & Albert Museum London (1972 to present). I am a Co-director of Cultural Heritage Digitisation Ltd with my business partner James Stevenson, formed in 2013. My Poster Presentation looks at the photography archive of the V&A Photographic Studio since 1857 when the Studio was founded. I look at one specific object – The Eltenburgh Reliquary acquired in 1861. Of particular interest is the number of times this object has been photographed over the last 140 years and how this shows the history of both the photographic process and the management of photographic production.
2+3D Photography 2017 – P 1 Victoria & Albert Museum Photographic Studio Arc...
2+3D Photography 2017 – P 1 Victoria & Albert Museum Photographic Studio Arc...
rijksmuseum
It has been common practice to create custom ICC profiles for digital cameras used in fine art reproduction. However, many photographers use Adobe Camera Raw (ACR) in Photoshop or Lightroom as their main acquisition and image correction/editing tool. In ACR, a special type of profile, a “Digital Camera Profile” (DCP) – also known as DNG or Raw profile – is automatically used. The default profiles were not created for the subtleties of art reproduction, but rather for getting pleasing color in typical images with green grass and blue skies. No other application supports the use of custom DCP profiles, so we at basICColor therefore decided to create custom profiles from a variety of targets to finely optimize the reproduction of works of art. To show the flexibility of this approach, we are presenting the work of artist and photographer Christopher Campbell with two types of subject matter, photographs of paintings on display in various museums using available light, as well as photographs of Christopher’s own work using a controlled copy set-up.
2+3D Photography 2017 – P 2 Color accurate reproduction of original artwork ...
2+3D Photography 2017 – P 2 Color accurate reproduction of original artwork ...
rijksmuseum
The goal of this research is to determine potentials and limits of UV-VIS-NIR Spectral Imaging for the non-destructive quantitative monitoring of spectral changes that may occur in historical papers and writing media during exhibitions e.g. at the Rijksmuseum. Four spectral imaging instruments in Europe, with different technical specifications, have been used on the same set of reference targets and on samples that will be light aged at different humidity levels using the same LED illumination as is present in the exhibition rooms of the Rijksmuseum. The samples include: a historical blue paper, a light sensitive pastel, papers with foxing and metal intrusions, a sanguine (red chalk) and the Blue Wool Standard grade 1. All of them will be recorded a second time after accelerated ageing in order to assess the monitoring sensitivity. This research project is made possible by the Migelien Gerritzen Fund/Rijksmuseum Fund.
2+3D Photography 2017 – P 3 Quantitative Monitoring of Works of Art on Paper ...
2+3D Photography 2017 – P 3 Quantitative Monitoring of Works of Art on Paper ...
rijksmuseum
This poster presentation looks at the transition of the Rijksmuseum Image Department archives over the last 15 years. It will give a brief look at how the archive developed from almost exclusively analogue at the start of this millennium to digital today. What were the challenges and successes along the way, how did the analogue legacy shape our digital archive and what are our goals, wishes and challenges for the future.
2+3d Photography 2017 – P 4 The Rijksmuseum DAM, how we got there and where w...
2+3d Photography 2017 – P 4 The Rijksmuseum DAM, how we got there and where w...
rijksmuseum
学校原件一模一样【微信:6496090 】【英国赫特福德大学毕业证成绩单】【微信:6496090 】学位证,留信认证(真实可查,永久存档)原件一模一样纸张工艺/offer、雅思、外壳等材料/诚信可靠,可直接看成品样本,帮您解决无法毕业带来的各种难题!外壳,原版制作,诚信可靠,可直接看成品样本。行业标杆!精益求精,诚心合作,真诚制作!多年品质 ,按需精细制作,24小时接单,全套进口原装设备。十五年致力于帮助留学生解决难题,包您满意。 本公司拥有海外各大学样板无数,能完美还原。 1:1完美还原海外各大学毕业材料上的工艺:水印,阴影底纹,钢印LOGO烫金烫银,LOGO烫金烫银复合重叠。文字图案浮雕、激光镭射、紫外荧光、温感、复印防伪等防伪工艺。材料咨询办理、认证咨询办理请加学历顾问Q/微6496090 【主营项目】 一.毕业证【q微6496090】成绩单、使馆认证、教育部认证、雅思托福成绩单、学生卡等! 二.真实使馆公证(即留学回国人员证明,不成功不收费) 三.真实教育部学历学位认证(教育部存档!教育部留服网站永久可查) 四.办理各国各大学文凭(一对一专业服务,可全程监控跟踪进度) 如果您处于以下几种情况: ◇在校期间,因各种原因未能顺利毕业……拿不到官方毕业证【q/微6496090】 ◇面对父母的压力,希望尽快拿到; ◇不清楚认证流程以及材料该如何准备; ◇回国时间很长,忘记办理; ◇回国马上就要找工作,办给用人单位看; ◇企事业单位必须要求办理的 ◇需要报考公务员、购买免税车、落转户口 ◇申请留学生创业基金 留信网认证的作用: 1:该专业认证可证明留学生真实身份 2:同时对留学生所学专业登记给予评定 3:国家专业人才认证中心颁发入库证书 4:这个认证书并且可以归档倒地方 5:凡事获得留信网入网的信息将会逐步更新到个人身份内,将在公安局网内查询个人身份证信息后,同步读取人才网入库信息 6:个人职称评审加20分 7:个人信誉贷款加10分 8:在国家人才网主办的国家网络招聘大会中纳入资料,供国家高端企业选择人才 办理英国赫特福德大学毕业证【微信:6496090 】外观非常简单,由纸质材料制成,上面印有校徽、校名、毕业生姓名、专业等信息。 办理英国赫特福德大学毕业证【微信:6496090 】格式相对统一,各专业都有相应的模板。通常包括以下部分: 校徽:象征着学校的荣誉和传承。 校名:学校英文全称 授予学位:本部分将注明获得的具体学位名称。 毕业生姓名:这是最重要的信息之一,标志着该证书是由特定人员获得的。 颁发日期:这是毕业正式生效的时间,也代表着毕业生学业的结束。 其他信息:根据不同的专业和学位,可能会有一些特定的信息或章节。 办理英国赫特福德大学毕业证【微信:6496090 】价值很高,需要妥善保管。一般来说,应放置在安全、干燥、防潮的地方,避免长时间暴露在阳光下。如需使用,最好使用复印件而不是原件,以免丢失。 综上所述,办理英国赫特福德大学毕业证【微信:6496090 】是证明身份和学历的高价值文件。外观简单庄重,格式统一,包括重要的个人信息和发布日期。对持有人来说,妥善保管是非常重要的。
一比一定制英国赫特福德大学毕业证学位证书
一比一定制英国赫特福德大学毕业证学位证书
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There is little doubt; today’s 3D imaging spatial mappings are impressive. The current demonstrations of 3D photogrammetric point clouds recall the seductive sirens of the honeymoon period of 2D digital imaging in the early 90s. How can one not be wowed by the cruise-missile precision of such spatial mappings? But let’s snap out of it, like we did for 2D imaging. Any authentic digital image, especially those in cultural heritage imaging, requires an analytical pairing of not only spatial information at a point in space but also the light field, the energetics, associated with each point. It’s not only a single number, but a field of numbers that map color and light intensity not only at both oblique and non-oblique viewing angles. That’s the challenge. It is at the core of color capture management and exposure for 3D imaging. It needs to be right at capture or the remainder is just gilding. This is meant more as a provocative and catalyzing talk than necessarily an informative one. We will update the audience on the current strategies for doing such management, and we will describe the underlying complexities of performing spectral gonio-spectroradiometric calibrations and complementary targeting tools to progress the research that has been done to date. There are truly some exciting research efforts on this subject. Some of our best minds are embracing the challenge. Can we do it?
2+3D Photography 2017 – INV 7 The 3D Image Capture Moonshot: Managing the Ene...
2+3D Photography 2017 – INV 7 The 3D Image Capture Moonshot: Managing the Ene...
rijksmuseum
I’m very happy to introduce a new target with a new approach for object photography. This target makes it possible to measure white balance, correct exposure and gain modulation while shooting objects. It is designed for non-uniform lightning conditions and provides information on the tonal capture conditions under which the image was shot. This target requires the photographer to use new skills and craftsmanship as well as the traditional, familiar ones. The photographer decides from which viewpoint the object has to be shot, where to put the camera, how to frame the image and how to illuminate the object in the best possible way, the way it has always been with photography. The new skills and craftsmanship needed to work with this target entail deciding where to have correct white balance, exposure and gain modulation in the image. The photographer chooses where to place the target and how to use it. And, to do so, he needs to have full understanding of the benefits of correct tonal capture. The interesting part of this target is that its use is connected to the photographer’s goal, which is totally different from having a technical target strongly connected to uniform lightning conditions and clearly described camera settings as is the case with technical targets in 2D imaging. Quality, stability and repeatability are connected. The benefit of using this target is that once a perfect match between light, camera position and tonal capture settings is met, this situation can be repeated over and over again. This makes it possible to photograph objects in a structured and well-defined way based on the photographer’s goals and decisions. During the work shop I’ll demonstrate the target and explain how to use it. For more information go to www.preservationimaging.com. Acknowledgements Special thanks goes to Cecile van der Harten, Carola van Wijk and Henni van Beek for their inspiring support and confidence.
2+3D Photography 2017 – INV 8 A new target with a new approach for the photog...
2+3D Photography 2017 – INV 8 A new target with a new approach for the photog...
rijksmuseum
Since 1946, the Réunion des Musées Nationaux – Grand Palais photo agency has been officially responsible for promoting collections of France’s national museums. For more than 60 years, it has carried out photography campaigns inside national museums to further expand the agency’s collection, which is universally available at www.photo.rmn.fr. As a public body, its missions include preserving images of artwork for future generations and making the images available to all audiences, including individuals, scientists, and other professionals. France Collections 3D, a project of the Photo Agency of the Réunion des musées nationaux – Grand Palais has produced photorealistic 3D reproductions of several hundred artworks from the Louvre, the Orsay museum, the Guimet museum of Asian arts, the National Archaeological Museum of St-Germain-en-Laye, the National museum of the Middle Ages – Cluny, the National Renaissance Museum of Ecouen, among other museums. Anticipating the evolution of 3D technologies, France Collections 3D started in 2013 to initiate a 3D asset strategy for the French National museums collections: managing proper photorealistic 3D reproduction of artworks and maximizing their diffusion potential by making these 3D models available for a wide range of uses: photo or video renderings, interactive applications, augmented reality, virtual reality, hologram, and 3D printing. By mixing our photographers know-how and innovative 3D technologies and software, a robust photogrammetry and postproduction workflow has been structured, and many different types of artworks have thus been made available in 3D: from the 25,000 years old Brassempouy Venus in mammoth ivory to sculptures and paintings by Paul Gauguin. François Bougnères will present 3D reproductions of artworks and a complete photogrammetry and postproduction workflow.
2+3D Photography 2017 – SP 3 Photogrammetry and postproduction workflow for 3...
2+3D Photography 2017 – SP 3 Photogrammetry and postproduction workflow for 3...
rijksmuseum
The first online exhibition from the Getty Research Institute (GRI), The Legacy of Ancient Palmyra, highlights two rare collections from the GRI documenting an important archeological site that has recently undergone destruction amid the Syrian war. These collections include the first photographs of the ancient monuments of Palmyra, including many destroyed in 2015 and 2017 by ISIS. Because the GRI’s two collections are not accessible together anywhere else, the exhibition team sought to make these materials freely available with accompanying scholarly interpretation to anyone with Internet access. The GRI’s 100 etchings of Palmyra by artist Louis François Cassas were recorded during his late-18th century journey through the Ottoman Empire. The second collection comprises 29 photographs by sea captain, Louis Vignes, who documented Palmyra, as a side trip during an 1864 scientific expedition to the Dead Sea. The online exhibition takes advantage of the comparisons presented by these two collections to dive deeper into the archaeological and art-historical context of this site. Taking fourteen months to develop, the project considered how to take a visitor’s gallery experience – such as looking closely at an image and then standing back from a different perspective – and to translate this to desktop, tablet, and mobile devices. How could we evoke, but also move beyond a gallery experience? How might we offer an online exhibition that brings highly detailed 18th-century prints and 19th-century photographs into a 21st-century digital environment? A primary goal sought to build – through a responsive design – a site that would capture wayfinding and a narrative progression in a digital experience without forcing viewers onto a single “path” through the exhibition. This talk describes how the curators and the digital team addressed these challenges and how they informed decisions about design, layout, technical features, and image presentation.
2+3D Photography 2017 – INV 12 The Making of an Online Exhibition: The Legacy...
2+3D Photography 2017 – INV 12 The Making of an Online Exhibition: The Legacy...
rijksmuseum
In a few thousand years, 99% of the physical material of our cultural heritage we try to preserve today will be lost. An inconvenient fact for all stakeholders involved in the preservation of the actual objects which testify to the richness of our past; most will end up as undefinable dust. Destruction is omnipresent: earthquakes, tsunamis, fires, volcanos, time, hostile environments, flashlights, war, neglect, vandalism, collateral damage, and deliberate violations. Concerning the last, whether it is the destruction of heritage sites to make place for the Olympics in Beijing, the dynamiting of the Buddha’s of Bamiyan statues, the burning of the Timbuktu manuscripts or the demolishing of mausoleums of holy men in Syria and Iraq, people always seem to come up with justifying reasons. Our modern cities are built on the foundations of destructive progress. Strategies to overcome this must be formulated. The seven wonders of the world of which only the Giza Pyramids survived, have taken a central position in our understanding of great architectural accomplishments which were lost, to be remembered only thanks to ancient writings. Today the odds are more favorable. Over the last 150 years, architects, engineers, illustrators and archaeologists produced technical drawings of many heritage sites and artefacts. Digitalization projects and efforts are ongoing everywhere and imaging techniques allow reconstructions unthinkable up until recent times. But what to do with them? What is their accuracy? Do we have complete datasets linked with metadata? What is to be considered as a complete dataset? What has not been registered? Templates, protocols and standards should be developed to ensure their sustainability. When all of that is settled, if the original is lost, what gets preserved digitally, and what does not?
2+3D Photography 2017 – INV 13 A critical reflection on the use of 3D technol...
2+3D Photography 2017 – INV 13 A critical reflection on the use of 3D technol...
rijksmuseum
2+3D Photography 2017 – Notes Henrike Hövelmann
2+3D Photography 2017 – Notes Henrike Hövelmann
2+3D Photography 2017 – Notes Henrike Hövelmann
rijksmuseum
2+3D Photography 2017 – Notes Froukje van der Meulen
2+3D Photography 2017 – Notes Froukje van der Meulen
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rijksmuseum
Stanford University has been actively digitizing its map holdings since 2008. To date, they have imaged approximately 90,000 maps and pages of map-related text. Given their oversized format, maps are often challenging cultural heritage artifacts to digitize. This presentation will explore the processes and techniques used to image the Ōmi Kuni-ezu 近江國絵圖 Japanese Tax Map from 1837. Undertaken in partnership with the Department of History at Stanford, the project pushed the limits of the digitization team’s technical expertise and resourcefulness, especially as its great size and fragility made it impossible to photograph in the imaging studio. This case study will highlight the current limitations of 2D imaging technology, ongoing problems of digitizing paper and cloth items of a certain size and fragility, and the important role of cultural heritage imaging in research, teaching and learning.
2+3D Photography 2017 – SP 5 Oversized Imaging at Stanford: the Ōmi Kuni-ezu ...
2+3D Photography 2017 – SP 5 Oversized Imaging at Stanford: the Ōmi Kuni-ezu ...
rijksmuseum
As exciting new computational imaging techniques emerge we all face the inevitable workflow challenges. In this presentation, Scott Geffert will highlight the Metropolitan Museum of Art’s Advanced Imaging Initiative and efforts to develop best practice leveraging international standards. Scott will highlight recently published international standards and will discuss new standardization efforts for cultural heritage imaging.
2+3D Photography 2017 – INV 18 From Project to Programmatic: International St...
2+3D Photography 2017 – INV 18 From Project to Programmatic: International St...
rijksmuseum
Photographing architectural models presented an intriguing challenge: capturing the interior. Tiny cameras typically shoot at a resolution too low to produce an acceptable result. After some Internet research, some experimentation in our fabrication lab, and much trial and error, I emerged with a solution. Using 3D-printed parts and a few other supplies, I was able to hack together an inexpensive, Raspberry Pi-driven camera rig for architectural models—and much more. My specific need for a small, flexible camera was built with the aid of the creative community and the result is ripe for experimentation and innovation to photograph other difficult spaces. Imagine capturing the detail inside a Ming vase or documenting the interior welds of a John Chamberlain sculpture. Faculty and students spent an immense amount of time creating these model spaces adding figures for scale and experimenting with lighting sources to give the viewer an accurate view of their vision for the structure. However, the viewer was forced to look through the windows and never truly experience the interiors. Enter experimentation. I started with what people have done and adapted to my needs. A pattern emerged of working until a question arose and then tracking down a solution. How do I run cable through the conduit? What about lighting? There's always a chance someone has found a solution and has shared it with the community. Whether digitizing student work at The Ohio State University or photographing ancient vases at the Kenchreai excavations in Greece, I've found there are always problems that require creative solutions. This project demonstrates how tech tools are exponentially more powerful when driven by the power of community. No one had created exactly what I needed, but by grabbing parts from work shared by others, I've been able to create tools with applications beyond architectural models.
2+3D Photography 2017 – INV 19 Hacking Technology for Documenting Difficult S...
2+3D Photography 2017 – INV 19 Hacking Technology for Documenting Difficult S...
rijksmuseum
Keep in Touch, see you next time, Cécile van der Harten
2+3D Photography 2017 – Keep in Touch, see you next time, Cécile van der Harten
2+3D Photography 2017 – Keep in Touch, see you next time, Cécile van der Harten
rijksmuseum
Photographing musical instruments with their large variety of materials, shapes, sizes and surfaces is a big challenge, especially if the target is the digitization of an entire collection within a reasonable timeframe. For inter-institutional research purposes, it is of utmost importance to make images from different collections comparable, which is no small task at all since, unlike paintings or sculpture, they have a multitude of possible positions and angles of view. One of the major outcomes of the EU-funded project Musical Instrument Museums Online (MIMO), which started in 2009, was the collaborative creation of a digitization standard for musical instruments. The workshop shows how this standard was created, which role it plays in a photographer’s daily working life, how to devise workflows for a large number of difficult objects and some showcases of lighting and photographing objects.
2+3D Photography 2017 – WS 1 Serial digitization of musical instruments and t...
2+3D Photography 2017 – WS 1 Serial digitization of musical instruments and t...
rijksmuseum
Lighting transparent glass objects for photography is always a matter of controlling contrast. Sometimes you need less contrast and sometimes you need more, but you always need to be able to control it. This is because the way we perceive glass is the result of how the glass itself transmits, refracts, reflects, and distorts light. Unlike most any other material, it is not possible to fully separate our perception of the glass itself from our perception of what we see through the glass. As museum photographers, we are trained to photograph objects on flat, neutral backgrounds (e.g. LAB 80 gray), and yet that approach creates incredible challenges when trying to capture subtle details such as engraving, tooling marks, optic ribbing, among other things. Often, it appears as if all detail and “glassiness” disappears once the object is placed on the background. This phenomenon occurs because every variation of thickness, every curve, every bit of engraving – really every change in the surface – in transparent glasses acts as a lens, however imperfect, and distorts the view through the glass. The field of view of each of these “lenses” must include a contrast of highlight and shadow and also be at a sufficient distance from the “lens” to resolve properly. If there is little contrast seen through the “lenses,” then there will be little contrast visible in the glass itself. Likewise, reflections in the glass must be carefully controlled in order to reveal, rather than obscure detail. In this workshop, we will present several lighting setup examples and discuss various approaches taken by The Rijksmuseum and The Corning Museum of Glass, with the emphasis on lighting solutions vs. multiple exposures and post-capture imaging.
2+3D Photography 2017 – WS 10 Photographic Lighting Techniques for Transparen...
2+3D Photography 2017 – WS 10 Photographic Lighting Techniques for Transparen...
rijksmuseum
I have been employed as a photographer all my working life and am currently Manager for Digitisation of Archives and Collections (formerly Chief Photographer) at the Victoria & Albert Museum London (1972 to present). I am a Co-director of Cultural Heritage Digitisation Ltd with my business partner James Stevenson, formed in 2013. My Poster Presentation looks at the photography archive of the V&A Photographic Studio since 1857 when the Studio was founded. I look at one specific object – The Eltenburgh Reliquary acquired in 1861. Of particular interest is the number of times this object has been photographed over the last 140 years and how this shows the history of both the photographic process and the management of photographic production.
2+3D Photography 2017 – P 1 Victoria & Albert Museum Photographic Studio Arc...
2+3D Photography 2017 – P 1 Victoria & Albert Museum Photographic Studio Arc...
rijksmuseum
I have been employed as a photographer all my working life and am currently Manager for Digitisation of Archives and Collections (formerly Chief Photographer) at the Victoria & Albert Museum London (1972 to present). I am a Co-director of Cultural Heritage Digitisation Ltd with my business partner James Stevenson, formed in 2013. My Poster Presentation looks at the photography archive of the V&A Photographic Studio since 1857 when the Studio was founded. I look at one specific object – The Eltenburgh Reliquary acquired in 1861. Of particular interest is the number of times this object has been photographed over the last 140 years and how this shows the history of both the photographic process and the management of photographic production.
2+3D Photography 2017 – P 1 Victoria & Albert Museum Photographic Studio Arc...
2+3D Photography 2017 – P 1 Victoria & Albert Museum Photographic Studio Arc...
rijksmuseum
It has been common practice to create custom ICC profiles for digital cameras used in fine art reproduction. However, many photographers use Adobe Camera Raw (ACR) in Photoshop or Lightroom as their main acquisition and image correction/editing tool. In ACR, a special type of profile, a “Digital Camera Profile” (DCP) – also known as DNG or Raw profile – is automatically used. The default profiles were not created for the subtleties of art reproduction, but rather for getting pleasing color in typical images with green grass and blue skies. No other application supports the use of custom DCP profiles, so we at basICColor therefore decided to create custom profiles from a variety of targets to finely optimize the reproduction of works of art. To show the flexibility of this approach, we are presenting the work of artist and photographer Christopher Campbell with two types of subject matter, photographs of paintings on display in various museums using available light, as well as photographs of Christopher’s own work using a controlled copy set-up.
2+3D Photography 2017 – P 2 Color accurate reproduction of original artwork ...
2+3D Photography 2017 – P 2 Color accurate reproduction of original artwork ...
rijksmuseum
The goal of this research is to determine potentials and limits of UV-VIS-NIR Spectral Imaging for the non-destructive quantitative monitoring of spectral changes that may occur in historical papers and writing media during exhibitions e.g. at the Rijksmuseum. Four spectral imaging instruments in Europe, with different technical specifications, have been used on the same set of reference targets and on samples that will be light aged at different humidity levels using the same LED illumination as is present in the exhibition rooms of the Rijksmuseum. The samples include: a historical blue paper, a light sensitive pastel, papers with foxing and metal intrusions, a sanguine (red chalk) and the Blue Wool Standard grade 1. All of them will be recorded a second time after accelerated ageing in order to assess the monitoring sensitivity. This research project is made possible by the Migelien Gerritzen Fund/Rijksmuseum Fund.
2+3D Photography 2017 – P 3 Quantitative Monitoring of Works of Art on Paper ...
2+3D Photography 2017 – P 3 Quantitative Monitoring of Works of Art on Paper ...
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This poster presentation looks at the transition of the Rijksmuseum Image Department archives over the last 15 years. It will give a brief look at how the archive developed from almost exclusively analogue at the start of this millennium to digital today. What were the challenges and successes along the way, how did the analogue legacy shape our digital archive and what are our goals, wishes and challenges for the future.
2+3d Photography 2017 – P 4 The Rijksmuseum DAM, how we got there and where w...
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2+3D Photography 2017 – INV 7 The 3D Image Capture Moonshot: Managing the Ene...
2+3D Photography 2017 – INV 7 The 3D Image Capture Moonshot: Managing the Ene...
2+3D Photography 2017 – INV 8 A new target with a new approach for the photog...
2+3D Photography 2017 – INV 8 A new target with a new approach for the photog...
2+3D Photography 2017 – SP 3 Photogrammetry and postproduction workflow for 3...
2+3D Photography 2017 – SP 3 Photogrammetry and postproduction workflow for 3...
2+3D Photography 2017 – INV 12 The Making of an Online Exhibition: The Legacy...
2+3D Photography 2017 – INV 12 The Making of an Online Exhibition: The Legacy...
2+3D Photography 2017 – INV 13 A critical reflection on the use of 3D technol...
2+3D Photography 2017 – INV 13 A critical reflection on the use of 3D technol...
2+3D Photography 2017 – Notes Henrike Hövelmann
2+3D Photography 2017 – Notes Henrike Hövelmann
2+3D Photography 2017 – Notes Froukje van der Meulen
2+3D Photography 2017 – Notes Froukje van der Meulen
2+3D Photography 2017 – SP 5 Oversized Imaging at Stanford: the Ōmi Kuni-ezu ...
2+3D Photography 2017 – SP 5 Oversized Imaging at Stanford: the Ōmi Kuni-ezu ...
2+3D Photography 2017 – INV 18 From Project to Programmatic: International St...
2+3D Photography 2017 – INV 18 From Project to Programmatic: International St...
2+3D Photography 2017 – INV 19 Hacking Technology for Documenting Difficult S...
2+3D Photography 2017 – INV 19 Hacking Technology for Documenting Difficult S...
2+3D Photography 2017 – Keep in Touch, see you next time, Cécile van der Harten
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2+3D Photography 2017 – WS 1 Serial digitization of musical instruments and t...
2+3D Photography 2017 – WS 1 Serial digitization of musical instruments and t...
2+3D Photography 2017 – WS 10 Photographic Lighting Techniques for Transparen...
2+3D Photography 2017 – WS 10 Photographic Lighting Techniques for Transparen...
2+3D Photography 2017 – P 1 Victoria & Albert Museum Photographic Studio Arc...
2+3D Photography 2017 – P 1 Victoria & Albert Museum Photographic Studio Arc...
2+3D Photography 2017 – P 1 Victoria & Albert Museum Photographic Studio Arc...
2+3D Photography 2017 – P 1 Victoria & Albert Museum Photographic Studio Arc...
2+3D Photography 2017 – P 2 Color accurate reproduction of original artwork ...
2+3D Photography 2017 – P 2 Color accurate reproduction of original artwork ...
2+3D Photography 2017 – P 3 Quantitative Monitoring of Works of Art on Paper ...
2+3D Photography 2017 – P 3 Quantitative Monitoring of Works of Art on Paper ...
2+3d Photography 2017 – P 4 The Rijksmuseum DAM, how we got there and where w...
2+3d Photography 2017 – P 4 The Rijksmuseum DAM, how we got there and where w...
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一比一原版(MQU毕业证书)麦考瑞大学毕业证成绩单原件一模一样
一比一原版(MQU毕业证书)麦考瑞大学毕业证成绩单原件一模一样
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