RM 23d Booklet Web

User Manual: RM-23d-Booklet-web

Open the PDF directly: View PDF .
Page Count: 52

Official Partner

2+3D Photography

Practice and Prophecies

15 & 16 April 2015

RĲKSMUSEUM

Amsterdam

RKS MUSEUM

2+3D

Photography

Practice and

Prophecies

2+3D Photography – Practice and Prophecies

Welcome ...................................................................................................................................................................................................................... 2

Practical Information ........................................................................................................................................................................................3

Program Wednesday April 15 ......................................................................................................................................................................4

Program Thursday April 16 ............................................................................................................................................................................ 5

Overview Workshops .........................................................................................................................................................................................6

Map ..................................................................................................................................................................................................................................7

Lectures - Day 1 ....................................................................................................................................................................................................10

Jan de Bont ..................................................................................................................................................................................................... 10

Bianca du Mortier ........................................................................................................................................................................................11

Tim Zaman ........................................................................................................................................................................................................12

Rob Erdmann ................................................................................................................................................................................................. 13

Günter Waibel ................................................................................................................................................................................................14

Nick Poole ..........................................................................................................................................................................................................15

Marianne Peereboom ..............................................................................................................................................................................16

Stephanie Schnörr.......................................................................................................................................................................................17

Barbara Bridgers-Johnson ................................................................................................................................................................... 18

Tony Harris .......................................................................................................................................................................................................19

Adam Lowe .....................................................................................................................................................................................................20

Cecile van der Harten ..............................................................................................................................................................................21

Lectures - Day 2 ...................................................................................................................................................................................................22

Roy S. Berns ....................................................................................................................................................................................................22

Scott Geffert ................................................................................................................................................................................................. 23

Marzia Niccolai ............................................................................................................................................................................................. 24

Pedro Santos ..................................................................................................................................................................................................25

Vincent Rossi ................................................................................................................................................................................................. 26

Bernard Frischer ..........................................................................................................................................................................................27

Sarah Saunders ........................................................................................................................................................................................... 28

Alonzo Addison ............................................................................................................................................................................................29

Workshops .............................................................................................................................................................................................................. 30

Daniel Pletinckx .......................................................................................................................................................................................... 32

Urs Recher ....................................................................................................................................................................................................... 33

Hans van Dormolen and Don Williams ......................................................................................................................................34

Hugh Gilbert ..................................................................................................................................................................................................36

Richard Davis .................................................................................................................................................................................................37

Joseph Coscia, Jr., ......................................................................................................................................................................................38

Frans Pegt and Staeske Rebers, .....................................................................................................................................................39

Henni van Beek ...........................................................................................................................................................................................40

Carola van Wijk ............................................................................................................................................................................................. 41

Rik Klein Gotink ...........................................................................................................................................................................................42

Martin Jürgens .............................................................................................................................................................................................44

Amsterdam Principles ...................................................................................................................................................................................45

Participants Information Market ..........................................................................................................................................................46

Contents

2+3D

Photography

Practice and

Prophecies

22+3D Photography – Practice and Prophecies

In the next two days 220 representatives from 20 countries will be convening here in the

Rijksmuseum to discuss the state of affairs on Practice and Prophecies in 2 and 3D photography

in the world of national heritage. Where are we now and where are we going? Which decisions can

we make collectively to qualitatively secure the work we do now for the future?

This conference has come about thanks to the advice and support of the members of the Program

committee and the Advisory board. A special word of gratitude goes out to the Association For

Historical And Fine Art Photography (AHFAP), who has been gracious enough to allow us to use

their contact files, knowledge and experience. Final thanks goes to our partner Hasselblad, whose

generous contribution has enabled us to organize these two days.

Furthermore, this conference would not be possible without the efforts made by all the volunteers

who are at your disposal throughout the conference.

We hope that this conference is the first of a biennial event for the photography professional in

world of national heritage.

We wish you all an inspiring conference! Strengthen your network, gather knowledge, and enjoy

these two days, which may even turn out to be three!

2and3D Photography – Practice and Propecies

Organizing committee

Cecile van der Harten

Sandra Plukker

Program committee:

Cecile van der Harten, Head Image Department, Rijksmuseum

Robert Gillese, Senior consultant ICT and Cultural Heritage , The DEN Foundation

Wim Hupperetz, Director, Allard Pierson Museum

Tim Zaman, PhD Researcher on Photothermal Tomography, Technical University Delft

Carola van Wijk, Photographer, representing Rijksmuseum photography staff

Advisory board:

Tony Harris, Digital Media & Photography Officer at Government Art Collection and Chair of AHFAP

Barbara Bridgers, General Manager for Imaging, Metropolitan Museum of Art

Scott Geffert, Senior Imaging Systems Manager, Metropolitan Museum of Art and President at

ImagingEtc.com

Stanley Smith, Head of Collection Information and Access, J. Paul Getty Museum

James Stevenson, Director, Cultural Heritage Digitisation Ltd

Welcome

2+3D

Photography

Practice and

Prophecies

2+3D Photography – Practice and Prophecies

The main venue of the 2+3D Photography - Practice & Prophecies conference is the Rijksmuseum

in Amsterdam, Museumstraat 1.

Location - lectures

All the lectures are held in the Auditorium, accessible via the south-east side of the Atrium.

Location - workshops

The workshops are located in all over the Rijksmuseum campus. See page 7 for a map. There is a 15

minute break between the workshops to get from one location to the other. Guides are available

to show the way. Please stay with your guide as some areas are not accessible.

Information market

The information market is located in the Foyer in front of the Auditorium. For a list of companies

represented see page 46.

Food & Drinks

Coffee and tea is served in the Foyer in front of the Auditorium. Lunch is served in both the Foyer

and in the Picknick area. The Picknick area is recommended if you would like to sit or have a more

quiet environment for a conversation.

Please don’t bring food & drinks into the Auditiorium itself or any of the museum galleries.

Visiting the Museum

During the conference and on Friday the 17th, your conference badge gives you free admittance to

the galleries of the museum (excluding the Late Rembrandt exhibition). If you would like to visit

The Late Rembrandt exhibition, you can purchase a supplement ticket –either on line or at the

ticket desk in the Atrium.

Please keep your conference badge visible at all times during your visit.

Practical Information

42+3D Photography – Practice and Prophecies

Program Wednesday April 15

08.15-09.00 Registration – tea and coffee Plenair Atrium and Foyer

09.00-09.10 Cecile van der Harten, Head Image Department, Rijksmuseum - Welcome and introduction

09.10-09.30 Taco Dibbets, Director of Collections, Rijksmuseum - Opening

09.30-10.00 1.01 Jan de Bont, Cinematographer, Director, Producer, Collector - Keynote speech

10.00-10.30 1.02 Bianca du Mortier, Curator of Costume, Rijksmuseum - The importance of object-based photography or, How the Rijksmuseum photographers opened

up a curator’s collection

10.30-11.00 1.03 Tim Zaman, PhD Researcher, TU Delft - The Future Photographer: Artist or Scientist?

11.00-11.45 Coffee/tea and information market Plenair Foyer

11.45-12.15 1.04 Robert Erdmann, Senior Scientist, Rijksmuseum - A New View: Advanced Visualization for Art History and Art Conservation

12.15-12.45 1.05 Günter Waibel, Director, Digitization Program Office, Smithsonian Institution - Smithsonian x 2d: moving cost-efficient rapid digitization pipelines

from prototype to production

12.45-13.45 Lunch and information market Plenair Foyer and Picknick area

Lectures Auditorium Workshops multiple locations

13.45-14.15 1.06 Nick Poole, Chief Executive, Collections Trust - The digitisation machine –

building photography into practice 14.00-14.45 Workshop

(see workshop program on page 6)

14.15-14.45 1.07 Marianne Peereboom, Project ManagerIT, Van Gogh Museum - Digital

Asset Management for Everybody: Think Big and Act Small

14.45-15.15 1.08 Stephanie Schnörr, Coördinator Digital Collections, Naturalis - Digitizing a

huge collection in a digital street 15.00-15.45 Workshop

(see workshop program on page 6)

15.15-15.45 1.09 Barbara Bridgers, General Manager for Imaging and Scott Geffert, Senior

Imaging Systems Manager, Metropolitan Museum - Looking back and forward

15.45 -16.30 Coffee/tea and information market Plenair Foyer

16.30-16.45 1.10 Tony Harris, Digital Media & Photography Officer, Government Art Collection (GAC) and Chair, Association for Historical and Fine Art Photography

(AHFAP) - The AHFAP story – building UK cultural heritage imaging knowledge nodes

16.45-17.30 1.11 Adam Lowe, Director, Factum Arte - De-materialising and Re-materialising – tone and form in harmony.

17.30-17.40 1.12 Cecile van der Harten, Head Image Department, Rijksmuseum - Closure

17.45-19.30 Canal cruise with drinks

2+3D

Photography

Practice and

Prophecies

52+3D Photography – Practice and Prophecies

Program Thursday April 16

08.30-09.00 Coffee/tea Plenair Foyer

09.00-09.05 Cecile van der Harten, Head Image Department, Rijksmuseum - Opening

09.05-09.45 2.01 Roy Berns, Professor, Center of Imaging Sciences - Scientific Imaging of Cultural Heritage: Minimizing visual editing and relighting

09.45-10.15 2.02 Scott Geffert, Senior Imaging Systems Manager, Metropolitan Museum - Accuracy and standardisation in sharpness and color

10.15-10.45 2.03 Marzia Niccolai, Technical Program Manager, Google Cultural Institute - Accessibility of 3D objects

10.45-11.30 Coffee/tea and information market Plenair Foyer

11.30-12.00 2.04 Pedro Santos, Head of Competence Center Cultural Heritage Digitization, Fraunhofer IGD - CultLab3D – Automated 3D mass digitization of cultural

heritage artefacts

12.00-12.30 2.05 Vincent Rossi, 3D Program Officer, Smithonian Institution - Smithsonian X 3D: The tale of a 168-year-old institution, laser-scanners, and 3D printers

12.30-13.30 Lunch and information market Plenair Foyer and Picknick area

Lectures Auditorium Workshops multiple locations

13.30-14.15 2.06 Bernard Frischer, Professor, Indiana University - 3D Modeling of

Monuments: Recent Work of the Virtual World Heritage Laboratory 13.45-14.30 Workshop

(see workshop program on page 6)

14.15-14.45 2.07 Sarah Saunders, Electric Lane; 2D or 3D - stick the label to the image

How to create and use standards for embedded metadata

14.45-15.30 2.08 Alonzo Addison, Co-Chair, Digital Heritage Federation - Capture,

Compute, Curate - the opportunities and challenges of digital heritage

14.45-15.30 Workshop

(see workshop program on page 6)

15.30-16.15 Coffee/tea and information market Plenair Foyer

16.15-17.30

2.10 Introduction Amsterdam principles - Cecile van der Harten, Head Image Department, Rijksmuseum

Forum; Chair: Nick Poole

Presentation Amsterdam principles & closure

17.30-19.00 Drinks Plenair Foyer

20.00 Dinner (optional, not included in entrance fee) De -kantine, MT. Ondinaweg 15-17 (NDSM werf) Amsterdam

2+3D

Photography

Practice and

Prophecies

62+3D Photography – Practice and Prophecies

Overview Workshops

Location

1 CultLab3D – Automated 3D mass digitization of cultural heritage artefacts [Pedro Santos, Fraunhofer IGD] Teekenschool

Workshop area

2 De-materialising and Re-materialising - tone and form in harmony [Adam Lowe, Factum Arte] Teekenschool

Medialab II

3 Strategy for optimal documentation of museum objects [Daniel Pletinckx, Visual Dimension] Teekenschool

Medialab I

4 Lighting tips & trics [Urs Recher, Broncolor] Main building

Picknick Area

5 The need to standardize [Don Williams and Hans van Dormolen] Atelier Building

Meeting room B

6 Imaging Paintings for a Virtual Museum [Roy Berns] Main building

Tower 6 –Studio Image dept

7 360˚ Panoramic Photography [Hugh Gilbert, Photography for Artists] Het Bureau

Main Meeting room BG

8 The Art of Museum Costume photography [Richard Davis, V&A] Main building

Tower 7 studio

9 A Silver Photography [Joe Coscia, Metropolitan Museum] Atelier Building

Studio -1

9 B Silver Photography [Frans Pegt and Staeske Rebers, Rijksmuseum] Atelier Building

Studio -1

10 Catching the sketch. Designing and working with a custom made bookcradle [Henni van Beek, Rijksmuseum] Main building

Tower 6 Studio PK Online

11 Sharing and consistency [Carola van Wijk, Rijksmuseum] Atelier Building

Meeting room A

12 Make your own! [Rik Klein Gotink, Rijksmuseum] Main building

Tower 6 offices

13 Hands-on with several new multimodal interactive web technologies for image exploration [Robert Erdmann, Rijksmuseum] Atelier Building

Meeting Room C

14 A new perspective on imaging surfaces: the use of Micro Reflectance Transformation Imaging to examine surface topography

[Martin Jürgens, Rijksmuseum]

Atelier Building

Paper Atelier

2+3D

Photography

Practice and

Prophecies

72+3D Photography – Practice and Prophecies

If you have a transfer, please follow your guide!

Floor Plan

Hasselblad_H5D_MS_A4.pdf 1 19/03/2015 15:41

Association for Historical

and Fine Art Photography

…for cultural heritage imaging professionals in the UK & Ireland

Apply for membership at www.ahfap.org.uk

AHFAP provides a forum

for photographers, image-

makers, conservators and

image archivists to share

experience and benet from

mutual co-operation.

For more information about

us and links to our JISCmail

discussion list visit our website:

www.ahfap.org.uk.

Image: Chinese glazed earthenware gure of

an assistant to the Judge of Hell. Ming Dynasty

1522-1620. © Trustee’s of the British Museum /

photographer: Kevin Lovelock

@AHFAP

2+3D

Photography

Practice and

Prophecies

10 2+3D Photography – Practice and Prophecies

1.01

Jan de Bont

Cinematographer, director, producer, collector, Los Angeles

Wednesday April 15, 09.30 -10.00, Auditorium

Born in Eindhoven, The Netherlands in 1943, Jan de Bont has been

fascinated by new forms of photography and film since childhood

when he started experimenting with both media at the age of 10. After

completing his studies at the Film Academy in Amsterdam, his first

love was film which led to a long career in the film industry. He was the

cinematographer for many television documentaries (predominantly

about art and music), and he also worked on very successful Dutch

films such as Turkish Delight, Keetje Tippel, and Max Havelaar.

In search of new challenges, he moved to Hollywood, California where

he worked as a director of photography on a long list of films that

includes Diehard, The Hunt for Red October, Black Rain, and Lethal

Weapon. His directorial debut was with the big international hit movie

Speed. He also directed Twister and The Haunting etc.

Photography has never disappeared from his life. He started collecting photographs in the mid-

seventies with one goal in mind, to create an in-depth collection of the best prints of works

from his favorite photographers. His collection is almost evenly divided between European and

American photographers from the start of the 20th Century. His favorites include Edward Weston,

Edward Steichen, Jaromir Funke, Frantisek Drtikol, Josef Sudek, André Kertesz, Man Ray, Dorothea

Lang, Rudolf Koppitz, Robert Frank, Ray Metzker, Harry Callahan, Manuel Álvarez Bravo, Otto

Steinert, as well as a long list of contemporary photographers. Jan de Bont is head of the Getty

photo council and has supported the photo collections of several other museums.

A private collectors point of view on preservation and conservation

Keynote speech

Lectures - Day 1

2+3D

Photography

Practice and

Prophecies

2+3D Photography – Practice and Prophecies

1.02

Bianca du Mortier

Curator of Costume, Rijksmuseum, Amsterdam

Wednesday April 15, 10.00 – 10.30, Auditorium

Bianca M. du Mortier, MA started in 1980 as Curator of Costume in the

Rijksmuseum. As costume & fashion require a special kind of photography,

from the 1990’s we have worked with Maarten Spruyt (stylist & exhibition

designer) for various publications. He introduced Dutch photographers Tom

van Heel, Viviane Sassen and Koen Hauser to the museum. For editorials

and external photo shoots we worked with Victor Bergen-Henegouwen,

Miep Jukkema (1954–2012) and set designer Ben van Os (1944–2012).

In 2007 some 250 accessories were photographed by the team of

Rijksmuseum photographers for the 2008 web exhibition ‘Accessorize! 250

Objects of Fashion & Desire’ (design Joost van Grinsven) which won the

2008 Dutch Design Award, largely because of the outstanding images. For

the past two years the Rijksmuseum photographers and du Mortier have been working together on

the upcoming book on the Costume Collection.

The importance of object-based photography

or, How the Rijksmuseum photographers opened up a curator’s collection

In 2006 Frans Pegt, Rik Klein Gotink and I started with the digital photography of the c. 4.000

accessories in the Rijksmuseum collection. The quality of the pictures set a new standard in the

Netherlands and during the first year the desire to open this ‘treasure trove’ up to the general public

grew. What better way than to attract attention than to make a customized web exhibition, which

would operate separate from the Rijksmuseum website. The standardized pictures – against a grey

background – aimed at scientific research and reference were considered not attractive enough for

the ‘Accessorize! 250 Objects of Fashion & Desire’ a different format – with the objects on a shiny

black surface – was designed in cooperation with graphic designer Joost van Grinsven. During this

project it became clear that the new digital techniques allowed us – especially the curator and

restorers – to explore the objects from ‘within’. The digital size of the photographs made it possible

to zoom into the smallest corners, the fabric, the embroidery, the techniques used etc.etc. The

images literally became eye openers and revealed secrets that had been hidden for ages.

As we started to work on the images of the costumes in the collection – which are primarily shot

by Carola van Wijk and Frans Pegt – it was decided that this would form the basis for a book (to

be published) with a selection of c. 100 highlights from the collection. This time the standard grey

background was maintained – for pragmatic reasons – but the number of photographs taken of

each item would be increased (front, back, side and several details). The latter allows the curator

and restorers, as well as the general public and researchers later to ‘delve’ once again into the

materiality of the objects. The presentation will illustrate the importance of this new technology

and how it has led to new discoveries and better understanding of many of the costumes and

accessories. I have been curator of costume at the Rijksmuseum for the past 35 years and most of

the above objects had passed through my hands many times, yet if it had not been for these new

possibilities and experienced photographers many a detail or aspect would not have surfaced!

2+3D

Photography

Practice and

Prophecies

12 2+3D Photography – Practice and Prophecies

1.03

Tim Zaman

PhD Researcher at Quantitative Imaging Group

Delft University of Technology, Delft

Wednesday April 15, 10.30 – 11.00, Auditorium

Tim Zaman grew up with his family’s business in the digitization

of cultural heritage. The love for cultural heritage and the curiosity

for imaging and computer vision is deeply rooted. Throughout his

education, he has focussed on imaging and automation and obtained

a masters of science degree in biorobotics. He is currently a PhD

researcher at the Delft University of Technology (NL), where he

develops imaging devices for cultural heritage. He has since developed

hardware and software that speed-up, improve or expand what

technology has to offer to cultural heritage.

The Future Photographer: Artist or Scientist?

The evolution of the digitization of cultural heritage has been very progressive the past decade.

The digital camera, digital storage and the database have unlocked almost unlimited possibilities

for the ways we conserve our cultural heritage. We want to digitize more, better and faster. It

is clear that the unlimited amount of possibilities for digitizing one single object can not all be

employed. Ideally you want only one image that grasps the entire object. These possibilities need

to be managed; they need to be standardized. Standardization calls for standards, standards

call for guidelines, guidelines call for unambiguous instructions. The difficulty lies in the fact

that the relevant objects are obviously non-standard. Moreover, the standards and guidelines

themselves are not standardized, there exist multiple that are all different. For the photographer,

a picture raises a thousand questions. What imaging device should I use, what lighting, camera,

lens or guideline? Can it be captured at all, and should I improvise or develop something new?

The answers to these questions can only be answered with a thorough in-depth understanding

and experience with all imaging devices, whatever the dimension. Therefore, this is knowledge

that any future photographer needs to have. This calls for scientific photographers or creative

scientists. How do we entirely grasp objects of human emotion with science and rationalism?

2+3D

Photography

Practice and

Prophecies

2+3D Photography – Practice and Prophecies

1.04

Rob Erdmann

Senior Scientist, Rijksmuseum, Amsterdam

Wednesday April 15, 11.45 – 12.15, Auditorium

Prior to earning his Ph.D. from the University of Arizona in 2006, Prof.

Erdmann started a science and engineering software company and

worked extensively on solidification and multiscale transport modeling

at Sandia National Laboratories. He subsequently joined the faculty at

the University of Arizona in the Program in Applied Mathematics and the

Department of Materials Science and Engineering as Assistant Professor

and then Associate Professor on multiscale modeling and image

processing. In 2014, he moved to Amsterdam to become Senior Scientist

at the Rijksmuseum and Professor at the University of Amsterdam.

A New View: Advanced Visualization for Art History and Art Conservation

By combining very high resolution digital photographs, infrared photographs, infrared

reflectograms, x-radiographs, raking-light photographs, and other imagery using novel techniques

into a single multi-modal dataset for an art object, we are at risk of drowning in a sea of data.

Through the design of several new interactive visualization techniques, we arrive at an intuitive

and powerful system for exploring artworks and their secrets deeply. Ongoing projects from the

Rijksmuseum, the Bosch Research and Conservation Project, the Museum of Modern Art, The Art

Institute of Chicago, and the Van Gogh Museum provide several examples of the new approach.

2+3D

Photography

Practice and

Prophecies

14 2+3D Photography – Practice and Prophecies

1.05

Günter Waibel

Director, Digitization Program Office

Smithsonian Institution, Washington DC

Wednesday April 15, 12.15 – 12.45, Auditorium

Günter joined the Smithsonian Institution in December 2010 as

Director of the Digitization Program Office, where he oversees

policy and strategy for digitizing and managing Smithsonian assets,

and the implementation of the strategic plan “Creating a Digital

Smithsonian.” A particular focus of the Digitization Program Office is to

scale up throughput of digitization at the Smithsonian, as well as the

implementation of cutting-edge gigapixel and 3D capture technologies.

Günter is a past board member of the Museum Computer Network

(MCN) (2003–2009) and the Association of American Museum’s (AAM)

Media & Technology Committee (2004–2007). He has taught as adjunct

faculty in the School of Information Studies at Syracuse University,

New York (2004–2008), and the School of Library and Information Science at Catholic University

of America, Washington DC (2010). He has an MA in English Literature from Georgetown University.

Smithsonian X 2D: Moving cost-efficient rapid digitization pipelines from prototype to production.

Smithsonian X 2D: Moving cost-efficient rapid digitization pipelines from prototype to production

With 139 million objects and specimens housed in 41 facilities, the scale and diversity of

Smithsonian collections presents a unique digitization challenge. The Smithsonian’s Digitization

Program Office tackles this challenge through a series of pilot projects which aim to establish

high-quality, high-throughput digitization methodologies for different collection types, and

familiarize staff at our 19 museums with the discipline require for rapid capture. Run as open

house to inspire the entire Smithsonian community, these prototypes have focused on flat

materials such as glass-plate negatives, photographic materials, historic paper-currency, and

now are shifting towards rapid photography of three-dimensional collection objects such as

pottery and insects. Moving from pilot to production projects, the Digitization Program Office is

implementing the first conveyor-belt digitization system, capturing 260,000 pieces of historic

paper currency in four months. In addition, a digitization project to capture the entire collection of

the Cooper Hewitt Smithsonian National Design Museum is currently underway.

2+3D

Photography

Practice and

Prophecies

2+3D Photography – Practice and Prophecies

1.06

Nick Poole

Chief Executive, Collections Trust, London

Wednesday April 15, 13.45 – 14.15, Auditorium

Nick Poole is the Chief Executive of the Collections Trust, the UK-based

professional association for people working in collections management.

Prior to this role, Nick was a senior policy adviser to the Museums,

Archives and Libraries Council, where he delivered programmes

relating to participation, cultural services and new technology. Nick is

the former UK representative to the European Member States Expert

Group on Digitisation and Chairs the Europeana Network, a cross-

industry network of more than 1000 creative, cultural and technology

partners. He is responsible for a portfolio of digitisation and content

programmes worth more than EUR20m. Nick studied languages and

historical linguistics at Cambridge University, History and Philosophy of Science at Birkbeck

College, London and Fine Art and Illustration at Central College, London.

The digitisation machine – building photography into practice

Europe’s museums, galleries, archives and libraries contain many millions of specimen and

artefacts, miles of shelving and countless books, maps and other heritage materials. Collectively,

it is the defining challenge of our generation to shift this analogue material into digital format

so that it can continue to be discovered, used and enjoyed by future generations. The experience

of the past 10 years of large-scale programmes has been that it cannot scale to use private

or taxpayer investment simply to try and ‘digitise everything’. Instead, our cultural heritage

organisations must internalise this format-shifting and ongoing management of digital assets

into their core, daily work. This presents a variety of technical, organisational, financial and

strategic challenges. Organisation that were constructed in a previous century to deliver a specific

kind of cultural experience now find themselves challenged to serve an ever-expanding range

of audiences across a variety of different platforms. ‘Digitisation’ is not simply a process of

conversion from one format to another. It involves selection, learning, planning and coordination.

It shines new light on the collection itself, as well as opening up new opportunities to engage

the wider public. The process of embedding sustainable long-term approaches to digitisation is

therefore as much a question of culture change as it is selecting scanners and metadata formats.

In this presentation, Collections Trust CEO Nick Poole will reflect on 20 years of supporting large-

scale digitisation programmes in museums, archives and libraries. Drawing on the experience of the

international SPECTRUM Collections Management standard as well as the popular new SPECTRUM

Digital Asset Management, Nick will look at the ways in which heritage institutions are embedding

photography and scanning at different points on the cycle of collections acquisition, management,

care and use. He will address questions relating to quality standards in digitisation as well as the

Collections Trust’s current research into different models for income generation from digital assets.

Finally, he will address the ways in which different heritage organisations are approaching the

question of rights and licensing to support their organisational mission and meet different audience

expectations. This presentation is part of the Collections Trust’s Going Digital programme – a 2 year

‘back to basics’ initiative to support museums in making more effective use of IT in their daily work.

For more information, visit: www.collectionstrust.org.uk/going-digital

2+3D

Photography

Practice and

Prophecies

16 2+3D Photography – Practice and Prophecies

1.07

Marianne Peereboom

Project Manager IT, Van Gogh Museum, Amsterdam

Wednesday April 15, 14.15 – 14.45, Auditorium

Marianne Peereboom is project manager at the Van Gogh Museum.

From 2006 to 2010 her mission was to develop standards based digital

imaging in the Van Gogh Museum. With her team she established an

in-house photo studio that has been fully operational since 2009 and is

compliant with the Metamorfoze Standards and ICC color management.

Digital Asset Management for Everybody: Think Big and Act Small

Van Gogh Museum has recently implemented a Digital Asset

Management System. This system is linked to the Collection

Information System (Adlib), from which it derives a subset of metadata of all museum and library

objects. Those metadata are automatically inherited by all assets connected to an object. The VGM

uses the DAM System for all collection-related information, not only the high quality (“preferred”)

images from the photo studio but also historical images, technical photography such as X-ray,

raking light, UV or microscopic images, educational, marketing and commercial materials, etc. This

means that the system needs to be configured to deal with a lot of different formats and types of

content and that quality assurance is an important and ongoing concern.

Therefore, the migration phase is ‘micro-managed’ in consecutive phases, each focusing in detail

on a particular type of assets and combining development of procedures with training and

support of the staff members responsible for this type of assets. Contrary to a lot of software

implementations, where the project typically ends after the system has gone ‘live’ and is handed

over to the organization, the Van Gogh Museum’s DAM will go live as soon as the photo studio assets

have been ingested, but the project will continue with a closely monitored and guided migration

phase, to ensure the quality of the system, develop procedures and ensure that staff have the

necessary skills to use the system in accordance with the established standards and procedures.

This presentation will focus not on the technical but on the organizational implications of the

introduction of Digital Management System and give some practical advise on how to use your

system to its full potential and how to help and motivate your staff to embrace it as the central

repository for all your collection-related media.

2+3D

Photography

Practice and

Prophecies

2+3D Photography – Practice and Prophecies

1.08

Stephanie Schnörr

Coordinator Collection Digitization

Naturalis Biodiversity Center, Leiden

Wednesday April 15, 14.45 – 15.15, Auditorium

Stephanie studied Animal Biology and Medicine at Leiden University and

continued in biomedical sciences as a researcher in digitization techniques

of animal anxiety behaviour. After working as a researcher Stephanie

continued working as a Project Manager Collection Digitization at Naturalis

Biodiversity Center, being responsible for the digitization of 30 million

natural history specimens on metadata level. Currently Stephanie is

Coordinator Collection Digitization at Naturalis Biodiversity Center and

as such she is responsible for the development and implementation of

collection digitization processes and projects at Naturalis Biodiversity

Center with the aim of making the Naturalis natural history collection digitally available for

collection managers, scientists and other interested parties worldwide.

The natural history production line

Naturalis Biodiversity Center is the national museum for natural history and also the leading

institute in the Netherlands for academic research and education on biodiversity and taxonomy.

It currently has a collection of thirty seven million natural history objects. Between 2010 and

2015, Naturalis is realizing one of the largest projects for natural history collection digitization

to date. At least 37 million objects will be digitized, including 7 million objects on a high level

detail. The project is being funded by the Dutch Economic Structure Enhancing Fund (FES). In

order to realize this, Naturalis has built a program organization which made a new approach for

digitization of natural history collections possible: industrialization. We implemented processes

to prioritize the collections, standardized processes for data entry and scanning and minimalized

handling the objects. For each collection type we implemented a production line, the so called

‘digistreets’. Right now, we have 7 operational digistreets including one for our herbarium

sheets. For the digitization of these 4.000.000 herbarium sheets we contracted Picturae, a Dutch

service provider within the cultural heritage world. Picturae has created digitization conveyor

belts to digitize these at a production of 35.000 sheets per day with two shifts, working double

time. The entire procedure is highly innovative and impressive to watch. The results of all

Naturalis digitization efforts will be published online through portals from Naturalis and through

international scientific and cultural portals.

For more information, visit: https://science.naturalis.nl/en/collection/digitization/

2+3D

Photography

Practice and

Prophecies

18 2+3D Photography – Practice and Prophecies

1.09

Barbara Bridgers-Johnson

General Manager for Imaging, The Photograph Studio

The Metropolitan Museum of Art, New York

Wednesday April 15, 15.15 – 15.45, Auditorium

Barbara Bridgers-Johnson is the General Manager for Imaging at

The Metropolitan Museum of Art. In charge of the Museum’s in-

house photography program since 1986, Barbara manages twenty

photographers and imaging specialists alongside a group of

administrative staff whose skills, expertise and responsibilities range

from system integration, the implementation of international imaging

standards, and emerging capture techniques such as 360˚ photography,

high-resolution tiling solutions for oversized works, RTI imaging, time-

lapse and photogrammetry. The Photograph Studio’s images appear

in the pages of the Museum’s beautiful and award-winning exhibition

catalogues, and are increasingly featured on the Met’s website in internationally recognized online

features like The Timeline of Art History, 82nd and 5th, Met Collects and One Met. Many Worlds.

The Studio is currently engaged in the development of a long-term strategy for an institutional

imaging program that will consolidate the efforts of departments and individuals throughout

the museum. This program will extend the protocols and best practices centralized in the Studio

to all local imaging initiatives in order to expand the Museum’s online collection of images for

the broadest audience possible. As the Metropolitan extends its physical campus beyond 82nd

Street and 5th Avenue and the Cloisters to its new location in the Breuer building—we are working

collectively to create a virtual fourth campus online. Images of the works of art will increasingly

inform and refine that effort.

Beyond the Still Image: 360° Photography and Alternative Capture Techniques Find Their Place in

a Traditional Imaging Program

In recent years, The Metropolitan Museum’s Photograph Studio has developed a number of

different imaging solutions to broaden the Museum’s ability to provide content to as wide an

audience as possible. Imagine a single accessioned work of art and visualize a portfolio of images

attached to that object. The accessioned object’s portfolio contains beautiful studio photography,

pre-, in-process, and post conservation photography, the hundreds of still images comprising a

360˚ automated spin, the 360˚ spin itself, high-resolution tiles in addition to an overall stitched

view, RTIs, xRays, gallery views, time-lapse photography, video, digitized historical color or black

and white images, and three-dimensional computational renderings and scans. A recent joint

project between the Department of European Sculpture and Decorative Arts, Objects Conservation,

the Photograph Studio and a private donor provided the ideal situation to explore this concept of

the image portfolio in all its variations. It involved the creation of master studio images, 360˚ spin

photography, conservation photography and RTI imaging. Together, Barbara and Scott Geffert, will

give a presentation of this project to illustrate both the “portfolio concept” of image assets while

also demonstrating the many new capture techniques at work in the Metropolitan.

2+3D

Photography

Practice and

Prophecies

2+3D Photography – Practice and Prophecies

1.10

Tony Harris

Digital Media & Photography Officer at Government Art Collection

(GAC) and Chair of Association for Historical and Fine Art

Photography (AHFAP), London

Wednesday April 15, 16.30 – 16.45, Auditorium

Works of art from the GAC are displayed in UK Government buildings

in nearly every capital city, making it the most dispersed collection

of British art in the world. The role of the Collection is to promote

British art while contributing to cultural diplomacy. Dating from

1898, the Collection has expanded over the years and now contains

nearly 14,000 works of art from the 16th century to the present day

by mainly British artists in a broad range of media. Tony’s role at the

GAC includes object and event photography, website management

and collection management system administration. Tony graduated

with a Postgraduate Certificate in Digital Colour Imaging from the

London College of Communication in 2008. As AHFAP Chair he heads a

professional association of over 200 cultural heritage photographers

and image-makers in the UK.

The AHFAP story – building UK cultural heritage imaging knowledge nodes.

In April 1985, exactly 30 years ago this month, a group of photographers based in national

museums in London, met with the aim to share knowledge and information and formed AHFAP.

The association held its first conference in 1986 at the Natural History Museum, London and since

that time, its membership has grown to over 250 with members throughout the UK and now

Ireland. After 30 years and as many conferences, including its first international conference in 2011,

this is a story of how collaboration can and does benefit our profession. We are now in an age of

continually evolving technologies and methodologies, such as scientific, hyper-spectral and 3d

imaging; the need for national or regional associations like AHFAP to help disseminate knowledge

seems more pressing than ever before. We are starting to build links with cultural heritage

specialists within university departments in the UK with the aim of encouraging the development

of learning, CPD and training resources for our sector.

For more information, visit: www.gac.culture.gov.uk

www.ahfap.org.uk

www.tonyharris.eu

2+3D

Photography

Practice and

Prophecies

20 2+3D Photography – Practice and Prophecies

1.11

Adam Lowe

Director, Factum Arte, Madrid

Wednesday April 15, 16.45 – 17.30, Auditorium

Adam Lowe founded the Factum Foundation for Digital Technology in

Conservation in 2007. In April 2014 he constructed an exact facsimile of

the Tomb of Tutankhamun that was installed on a site next to Howard

Carter’s House at the entrance to the Valley of the Kings. It has been

heralded as the start of a new age of responsible cultural tourism

and is part of a wider transfer of skills and technologies to enable

local teams to document other Theban Necropolis tombs. Lowe has

collaborated with the academic Jerry Brotton for many years on the

history and production of cartographic experiments in two and three

dimensions. Their work uses the metaphor and practice of ‘mapping’

to transform our understanding of the surface of objects, from the

paintings of Veronese, Leonardo and Caravaggio to the globe itself.

De-materialising and Re-materialising - tone and form in harmony.

Documentation is essential to monitor the speed at which our heritage is decaying. 3D scanning

and multi-spectral photography can play a central role in the construction of multi-layered digital

archives that bring together accurate records of the surface, the colour and what lies under the

surface. When this is mixed with conservation records, monitoring analysis and expert opinion

our ability to understand and care for the object increases - the past exists in the present and

conditions the future. Factum Arte and the Factum Foundation are concerned with recording the

excat surface of paintings and objects- the quality of the data is close enough for the object to

be re-materialised and studied in both virtual and physical form. When the digital is no longer

tied to the virtual its physical presence will change how we think about and care for the material

evidence of the past - from vast tombs to the subtle changes on the surface of a painting - from

projects with contemporary artists to an anachronic engagement with history. Plaster casts were

an important means of understanding and communication in the second half of the C19th - today

its laser scanning and 3D printing. New technologies often influence how we understand and

care for the past and as photographic and 3D technologies merge new insights are emerging and

conditioning the ways in which works of art are documented, monitored, studied and exhibited.

For more information, visit: www.factum-arte.com/

2+3D

Photography

Practice and

Prophecies

2+3D Photography – Practice and Prophecies

1.12

Cecile van der Harten

Head Image Department RIjksmuseum

Wednesday April 15, Opening and Closure, Auditiorium

Thursday April 16, Opening and Introduction principles, Auditorium

Cecile van der Harten has been the manager of the Image department

at the Rijksmuseum since 2006. She supervises five photo studios and

the Rijksmuseum’s entire photography archive that supplies images to

internal and external clients. The Image department is responsible for

the systematic digitization of the Rijksmuseum collection comprised

of one million objects. A high-quality standards-based workflow and

a Digital Asset Management (DAM) system has been implemented to

accomplish this ambition.

2+3D

Photography

Practice and

Prophecies

22 2+3D Photography – Practice and Prophecies

2.01

Roy S. Berns

Professor, Center for Imaging Science, Rochester Institute of

Technology, Rochester, New York

Thursday April 16, 09.05 – 09.45, Auditorium

Dr. Roy S. Berns is the Richard S. Hunter Professor in Color Science,

Appearance, and Technology within the Program of Color Science at

Rochester Institute of Technology, USA where he developed both M.S.

and Ph.D. degree programs in Color Science He received B.S. and M.S.

degrees in Textiles from the University of California at Davis and a Ph.D.

degree in Chemistry from Rensselaer Polytechnic Institute (RPI). Berns

has received scientific achievement awards from the Inter-Society Color

Council, the Society of Imaging Science and Technology, the Colour

Group of Great Britain, and the International Association of Colour. He is

the author of the third edition of “Billmeyer and Saltzman’s Principles

of Color Technology,” as well as an author of over 200 publications. He has been active in the CIE

deriving CIE94 and contributing to CIEDE2000, now an ISO standard for color tolerancing. Berns’

main research focus is using color and imaging sciences for the visual arts, particularly paintings,

including: 3-D imaging and computer-graphics rendering; spectral-based imaging, archiving, and

reproduction; pigment mapping; and digital reconstructions of faded and darkened artwork.

This research is collaborative with the Museum of Modern Art, New York; the van Gogh Museum,

Amsterdam; The Getty Museum, Los Angeles; and the Art Institute of Chicago.

Scientific Imaging of Cultural Heritage: Minimizing visual editing and relighting

There are two color-reproduction goals. The first is subjective where the goal is to produce an

image that is pleasing, for example, all conventional photography and by extension, many art

books and posters. Such images have served art historians and the public quite well. The second

goal is objective where the goal is to record and reproduce the actual colors of the artwork.

This can be achieved using digital photography where the camera becomes a scientific device.

The advantage of objective color reproduction is its utility for conservation and with additional

processing, reprographics. Turning a camera into a scientific instrument requires different imaging

practices. This presentation will define scientific imaging, the requisite imaging practices, and why

achieving objective color reproduction is so difficult. The second topic is recording the topographic

properties of artwork, for example, impasto and the weave of a canvas, known as a surface

normal map. This map and diffuse color data can be combined using computer graphics software

such as Autodesk’s Maya to create a variety of images with different illumination geometries. This

minimizes the need for relighting and reshooting. Our technique uses the sequential images from

four strobe lights placed about the artwork. The four images can be used for both objective color

and computer graphics imaging.

For more information, visit: www.art-si.org/

Lectures - Day 2

2+3D

Photography

Practice and

Prophecies

2+3D Photography – Practice and Prophecies

2.02

Scott Geffert

Senior Imaging Systems Manager, The Photograph Studio, The

Metropolitan Museum of Art, New York

Thursday April 16, 09.45 – 10.15, Auditorium

Scott Geffert joined the staff of The Metropolitan Museum of Art

in 2012 as Senior Imaging Systems Manager after having acted as

the Museum’s primary digital imaging consultant for over 18 years.

Scott’s interests and involvement in imaging have evolved over the

past 30 years from supporting imaging users worldwide to taking an

active role in helping steer the industry via advocacy of international

standards and involvement in the IS&T, ISO and CIE organizations.

These efforts have led directly to improvements in cameras, software

and best practices for imaging specialists and programs within

museums and other cultural institutions. Long term experience in

color management, especially within the cultural heritage community, has led to innovative

patented work in the field of multi-spectral LED lighting technology, enabling precision tunable

illumination for viewing and digitizing artworks.

Museum Wide Imaging Strategies

With the rapid proliferation of smartphones and tablets, the demand for high quality content

has grown exponentially in the cultural heritage community. In an effort to create open access

of internal image archives to the public, museums worldwide have struggled with image quality

issues. Collection record images, conservation images, and publication images of the same

objects are often visually incompatible. Maintaining the delicate balance between the quality and

quantity of visual content made publicly available has become a critical topic for every institution.

As practitioners, we are often enamored by the lure of exotic new imaging technologies, but

maintaining visual continuity and quality across all imaging activity is of equal importance. In

this presentation, Scott Geffert will discuss ongoing efforts and progress within the Metropolitan

Museum of Art to standardize and uplift the quality and consistency of its images across multiple

departments and initiatives. Specifically, Scott will illustrate how the Photograph Studio has

provided training and technical support to conservation, curatorial, digital media, editorial,

education, merchandising and administrative departments.

2+3D

Photography

Practice and

Prophecies

24 2+3D Photography – Practice and Prophecies

2.03

Marzia Niccolai

Technical Program Manager, Google Cultural Institute, USA

Thursday April 16, 10.15 – 10.45, Auditorium

Marzia Niccolai is a Technical Program Manager at the Google Cultural Institute,

and works on digitization projects such as 3D scanning and Gigapixel capture. In

addition, she works to increase the visibility of cultural objects across Google.

She’s worked at Google for over 8 years, and before the Cultural Institute worked

on Google’s cloud computing offering, App Engine.

Accessibility of 3D objects

As Google works with Cultural Partners on 3D scanning projects, we consider not just the

acquisition of data, but how we can make it accessible and useful to our Cultural partners and

users of the web. In this presentation we will discuss how we are thinking about this problem end

to end, from acquisition of objects, as well processing, display, and discoverability.

For more information, visit: www.google.com/culturalinstitute/project/art-project

2+3D

Photography

Practice and

Prophecies

2+3D Photography – Practice and Prophecies

2.04

Pedro Santos

Head of Competence Center Cultural Heritage Digitization at

Fraunhofer IGD, Germany

Thursday April 16, 11.30 – 12.00, Auditorium

Pedro Santos has been Head of the Competence Center for Cultural

Heritage Digitization since 2012. Before he was Deputy Head of

the Department of Industrial Applications, today Department of

Interactive Engineering Technologies. In the course of various projects

in the field of digital preservation of cultural heritage objects and of

the increasing demand for mass-scale 3D digitization in this field, his

department develops the world’s first approach for fast, economic,

and automated 3D digitization of cultural heritage with emphasis on

capturing optical material properties. Pedro Santos, who has been

researcher at Fraunhofer IGD since 2002, studied computer science

at University of Darmstadt and Technical University of Lisbon. At present he is also attaining his

PhD on the subject of “fast, economic, and automated 3D digitization of cultural heritage” at

Technical University Darmstadt.

During his professional career he was involved in the development of the first immersive CAD

modeling systems to be used for the early stages of product development as well as in the design

of “see-through head-mounted” displays”, mobile applications in augmented reality and optical

“marker-based” and “markerless” tracking systems. Pedro Santos is author and co-author of over 50

publications as well as reviewer for the Association for Computing Machinery (ACM), die European

Association for Computer Graphics (Eurographics), the IEEE Computer Society and other organizations.

CultLab3D – Automated 3D mass digitization of cultural heritage artefacts

Millions of artefacts in museum depots, thousands of new entries per year await digitization

technology that is fast, economic and accurate enough to create faithful 3D digital reproductions

of the originals as well as classify, annotate and store them for posterity. The need to better

document, access and manage our cultural heritage treasures is constantly growing. In the

past attempts have been made to digitize books, photos and other works of art. Automated

digitization have been developed and put in place for such “2D” artefacts, yet 3D digitization of

busts, sculptures, archaeological findings, natural history artefacts has been a painful, slow and

highly manual process, which is only performed on selected objects, but not on a large scale.

Fraunhofer IGD Competence Center for Cultural Heritage Digitization is now addressing this

challenge by developing what could become a game changer in the field and make 3D digitization

fast and economically viable. CultLab3D (www.cultlab3d.de) is the world’s first automatic and

modular 3D digitization pipeline. It combines state-of-the-art scanning and lighting technologies

to capture geometry, texture, and - in addition - optical material properties of artefacts such as

their reflection and absorption characteristics to allow for a photo-realistic representation. By

automating the 3D digitization process, CultLab3D greatly reduces the time needed for a single

object digitization from hours to minutes. CultLab3D was recognized with an award at the 2013

Digital Heritage conference in Marseille, France. First trials with real artefacts have been carried

out at Liebieghaus in Frankfurt in July 2014.

2+3D

Photography

Practice and

Prophecies

26 2+3D Photography – Practice and Prophecies

2.05

Vincent Rossi

3D Program Officer, Smithsonian Institution, Washington DC

Thursday April 16, 12.00 – 12.30, Auditorium

Vincent Rossi hails from the great state of New Jersey. He has a BFA in

sculpture from the University of the Arts in Philadelphia and Graduate

level fine art study at Goldsmiths College/ University of London,

England. From 2004 to 2011, he worked as a sculptor, modelmaker and

project manager for the Smithsonian’s Office of Exhibit Central and

helped produce and manage many Smithsonian exhibits. From 2011

to present Vince works as a 3D Program Officer for the Smithsonian’s

Digitization Program Office - building 3D capacity, developing 3D

workflows and trying to live life to the fullest.

Smithsonian X 3D: The tale of a 168-year-old institution, laser-scanners, and 3D printers

Smithsonian X 3D brings iconic Smithsonian collection objects and remote research sites to a

web-browser near you by applying cutting-edge 3D technology to one-of-a-kind objects and

environments. The pilot project investigates the applicability of 3D technology to a cultural

heritage setting by focusing on use cases from many of the Smithsonian museums and science

centers, such as the 1903 Wright Flyer, Lincoln’s Life Masks, a 1500 year old Buddha sculpture,

a prehistoric fossilized whale, and a Super Nova. As presented in the Smithsonian’s brand new

3D explorer (3D.SI.EDU), the 3D models turns online visitors into active investigators: they can

manipulate the lighting scheme to draw out hard-to-read details such as low-relief carvings on the

Buddha; investigate cross-sections to reveal the interior of the revolutionary Wright Flyer engine;

take measurements to determine the dimensions of a whale vertebrae; and compare different

models, such as the two Lincoln Life Masks, through a split-screen. The kind of functionality

available in the 3D explorer has previously been the stuff of costly stand-alone software – now it

is at the fingertips of anyone with access to a web browser. Full datasets for most of the models

can be downloaded, which empowers anyone with a 3D printer to create replicas. The presentation

will discuss how the prototype was conceived, how it became the biggest social-media event in

the history of the Smithsonian, and how we hope to take the project from pilot to production

2+3D

Photography

Practice and

Prophecies

2+3D Photography – Practice and Prophecies

2.06

Bernard Frischer

Professor, Department of Informatics,

School of Informatics, Indiana University, Indiana

Thursday April 16, 13.30 – 14.15, Auditorium

Bernard Frischer is a leading virtual archaeologist and the author of

seven printed books, three e-books, and dozens of articles on virtual

heritage, Classics, and the survival of the Classical world. He is the

founding editor of Digital Applications to Archaeology and Cultural

Heritage, the world’s first peer-reviewed, online journal where scientists

can publish interactive 3D models. Frischer received his B.A. in Classics

from Wesleyan University (CT) in 1971 and his Ph.D. in Classics from

the University of Heidelberg in 1975. He taught Classics at UCLA from

1976 to 2004. From 2004 to 2013 he was Professor of Art History and

Classics at the University of Virginia. Since August 2013, he has been

Professor of Archaeoinformatics in the School of Informatics at Indiana University, where he is

also Director of the Virtual World Heritage Laboratory. The lab’s mission is to apply 3D digital tools

to simulating cultural heritage artifacts and sites as heuristic instruments of discovery. The lab’s

major projects currently include creation of a virtual world of Hadrian’s Villa, the World Heritage

Site near Tivoli, Italy; and using digital technology to scan and restore ancient sculpture.

From 1996 to 2003 Frischer directed the excavations of Horace’s Villa sponsored by the American

Academy in Rome, and in the same period he was founding director of the UCLA Cultural Virtual

Reality Laboratory. The lab was one of the first in the world to use 3D computer modeling to

reconstruct cultural heritage sites. Frischer has overseen many significant modeling projects,

including “Rome Reborn”, the virtual recreation of the entire city of ancient Rome within the

Aurelian Walls. The project has received extensive media coverage. A video about the project made

by the Khan Academy is now the most popular humanities program on Khan’s site, with over

500,000 views since it was published a year ago.

In 2005 Bernard Frischer was given the Pioneer Award of the International Society on Virtual

Systems and Multimedia. In 2009, he was the recipient of the Tartessus Lifetime Achievement Prize

from the Spanish Society of Virtual Archaeology. In 2010-11 he held the Senior Prize Fellowship at

the Zukunftskolleg at the University of Konstanz.

Videos:

The Hadrian’s Villa Project:

https://youtu.be/zGdjf9wzHOI?list=PLkfu7gl3xMWoZoqvGTLDoEG_woLwif8Z5

The Virtual Meridian of Augustus Project:

https://youtu.be/GUXZ0d0sxpo

Demo Reel of the Virtual World Heritage Laboratory, Indiana University:

https://vimeo.com/105041300

3D Modeling of Monuments Using Photographs: Recent Projects of the Virtual World Heritage

Laboratory, Indiana University

2+3D

Photography

Practice and

Prophecies

28 2+3D Photography – Practice and Prophecies

2.07

Sarah Saunders

Director, Electric Lane, London

Thursday April 16, 14.15 – 14.45, Auditorium

Sarah Saunders runs image and data management consultancy Electric

Lane. She advises organisations and businesses on image DAM solutions and

workflows and has worked extensively in the heritage sector. She works with

clients to integrate the entire workflow and is experienced in project planning,

DAM procurement, data handling and mapping, keywording and taxonomy,

digital imaging and DAM implementation.

She is a member of the IPTC Photometadata Working Group and authored the

IPTC/CEPIC Metadata Handbook. She has worked on European Union projects

ARROW Plus and RDI (Rights Data Interchange), and has been actively

involved in bringing heritage fields to the IPTC schema. She is currently working on a project to

create a wider schema (SCREM) for embedding data in heritage images.

2D or 3D - stick the label to the image. How to create and use standards for embedded metadata

The IPTC schema for metadata associated with images has a long history and is widely used in the

media industry. In 2014 additional fields were added to the IPTC schema help describe heritage

objects. Another project. SCREM, aims to standardise a wider set of commonly used heritage fields

for use within the imaging sector.

This presentation will discuss the advantages of standardising data and delivery formats for visual

media and look at the challenges for 3D imaging. We have learnt in our work with IPTC that standards

need support from industry managers and software suppliers. How can we best communicate the

business benefits of metadata standards and help 3D imaging to early stage adoption??

For more information, visit: www.electriclane.co.uk

2+3D

Photography

Practice and

Prophecies

2+3D Photography – Practice and Prophecies

2.08

Alonzo Addison

Co-Chair, Digital Heritage Federation, Berkely, California, USA

Thursday April 16, 14.45 – 15.30, Auditorium

With senior leadership roles spanning the United Nations to Silicon

Valley and the University of California, Lon Addison brings over 25

years of experience in strategic planning, research and management

of information technology in heritage, culture & the arts, design &

engineering, and more. An advisor to tech ventures, non-profits, and

governments, he has guided R&D in new media/VR as Director of UC

Berkeley’s Center for Design Visualization, served as VP of 3D laser

scanning pioneer Cyra Technologies, and reformed online knowledge

and communications as Director in External Relations and Information

at the UN’s Educational, Scientific and Cultural arm. As Co-Chair of the

REAL summit (www.real2015.com), he recently convened over 50 global leaders in 3D technology

to explore the future of reality computing with Autodesk.

For over a decade as Special Advisor for World Heritage at UNESCO he built heritage tech alliances,

and has led field conservation and documentation projects at sites from Angkor (Cambodia)

to Bagan (Myanmar), Peru to Egypt, and Belize to Bhutan. He serves as President of the Int’l

VSMM Society, VP of the ICOMOS Int’l Scientific Committee for Interpretation & Presentation, and

on the boards of multiple NGOs and non-profits. He has authored 50+ books/papers including

“Disappearing World” (HarperCollins, 2007–2009) in 9 languages. With degrees in engineering,

architecture and computing from Princeton and Berkeley, he has lectured at universities from

Oxford to Tokyo and Dresden to Cairo, and currently serves as Adjunct Professor in Design at OCAD

University and Guest Professor in the Lemaire Centre for Conservation at KU Leuven.

Capture, Compute, Curate – the opportunities and challenges of digital heritage

In the early 1990’s 3D scanning, processing, and visualization were in their infancy, while digital

heritage was just being born. In the ensuing decades sensor technology, compute power, and

technical expertise have evolved. Now some 20+ years on, 3D capture, computation, and creation

in heritage are not only possible, but being widely piloted across institutions and projects. Yet

capturing reality in digital form is only one step in a complex process. Digital curation relies on

smart processing and management. Sadly our digital data has a realistic lifespan a fraction of that

of the heritage it represents. With illustrated examples of the potential and pitfalls of 3D, we will

explore the future and challenges of digital in the museum.

2+3D

Photography

Practice and

Prophecies

30 2+3D Photography – Practice and Prophecies

W.01

Pedro Santos

Head of Competence Center Cultural Heritage Digitization,

Fraunhofer IGD, Germany

Workshop location: Teekenschool, Workshop area