Day One

Conference Programme for Day One, 14 June 2011

Keynote address, 2D to 3D
Professor David Arnold University of Brighton

Professor Arnold has worked on several projects which apply innovative research technologies to the world of cultural heritage. He is currently the Project Coordinator for 3D-COFORM. The 3D-COFORM Consortium has one over-riding aim: to establish 3D documentation as an affordable, practical and effective mechanism for long-term documentation of tangible cultural heritage. To achieve this, the consortium is highly conscious that both the state of the art in 3D digitisation and the practical aspects of deployment in the sector must be addressed. Hence 3D-COFORM is developing an ambitious programme of technical research, coupled with practical exercises and research in the business of 3D to inform and accelerate the deployment of these technologies to good effect.

Professor Arnold will describe how he believes that the representation of the cultural object will be enhanced by 3D imaging technology.

Sponsor presentation
Hasselblad, our sponsors, will be presenting a review of their latest camera technology. They will be present throughout the conference giving demonstrations and offering advice.

ICON project
IT Innovation, Southampton
Richard Beales
Dr Beales will talk about current work taking place in the ICON TSB-funded project on the commercialisation of 3D image models made in the cultural heritage sector. This project is for developing business models and delivery methods intended to assist raise new forms of revenue for this sector.

The colour studio of Harald Renböy
Nils Torske, Photographer at the Levanger Museum Norway

Talk Slides – Nils Torske (PDF – 6.5mb)

Mr Torske will tell the fascinating story of the early development of colour photography in Norway. Harald Renbjõr (1889-1956), a pioneer of Norwegian colour photography started working in colour photography in its early days. The museum has a preserved three-colour print (Pinatype) dated 1907. There are also preserved portraits on Autochrome from the same time.

In 1909-1910 he studied colour photography at K. K. Graphische Lehr- und Versuchsanstalt, Joseph Maria Eder’s famous school in Vienna.

He experimented with irregular-dot pattern emulsions such as Autochrome (1907), Agfacolor (1916), lenticular film, Lippmann’s interference process, and regular-dot pattern emulsions, such as Finlay Direct Color and Dufaycolor. Many preserved examples exist in the museum. Of particular interest are his three-colour images. The entire work-flow from negatives to finished print is preserved.

His interest in colour photography led to the foundation of Norway’s first professional laboratory for the processing of colour films in Levanger in 1948.

In 2001 Harald Renbjõr’s son Per gave Levanger Museum a unique collection of colour and black-and-white photographs, technical equipment and chemicals. This collection is unique, as it is Norway’s most comprehensive collection of colour images and shows colour photography techniques from one single firm. It contains some of Norway’s oldest existing colour images.

The Levanger Museum houses his complete archive and is reconstructing Renbjõr’s processing laboratory. This talk will include outstanding examples of colour photography from the first half of the 20th century.

Scott Geffert, President at Center for Digital Imaging Inc, New York and Hans van Dormolen, Quality Manager, Metamorfoze, Koninklijke Bibliotheek, Netherlands
Image standards and the Metamorfoze guidelines
This presentation will be an update on emerging international imaging standards which suitable for the cultural heritage sector. Geffert and van Dormolen will discuss the progress in the standards movement and the Metamorfoze Preservation Imaging Guidelines that have now been successfully implemented in places in both Europe and the US.

Cecile van der Harten, Head of Photography at the Rijksmuseum

Talk Slides – Cecile Van der Harten (PDF – 7.5mb)

The Rijksmuseum has, since 2007, implemented a high quality standards-based workflow for digital imaging as well as a museum-wide Digital Asset Management system. This coordinated effort was spearheaded by museum management to organise and digitise every object that will be on show after the re-opening of the Rijksmuseum in 2013.

The Image Department is responsible for the systematic digitisation of the one million objects in the collection. Working in five studios, the photographic team of two full-time and five part-time photographers, have an average production of 2,000 captures a month. While the culture of ‘rapid capture’ has become popular, the Rijksmuseum photography programme was designed from the outset to deliver high quality, consistency, and high productivity. A major contribution derives from the printroom on line, where prints and drawings are captured in a specially designed ‘digital’ street.

The museum achieves productivity and quality goals by using the latest objective colour-managed capture and process control methods. The image standards are based on the Metamorfoze Preservation Imaging Guidelines, developed at the Koninklijke Bibliotheek, The Hague. The Rijksmuseum is one of a growing number of museums worldwide that have adopted these guidelines including the Van Gogh Museum in Amsterdam and the Metropolitan Museum in New York. The team in the photographic archive supplies images to clients both within and outside the museum. This team is also responsible for the systematic planning and logistics of major projects such as collection catalogues, web campaigns and exhibition projects.

The enterprise level DAM is synchronised with the collection management system of the museum. In addition, a centralised workflow built using Microsoft Sharepoint enables ordering, scheduling, searching and download of images with automated image conversions via the DAM-system. Users interact with these systems via a fully integrated web interface that allows them to focus on specific activities. This approach has minimised training and maximised productivity. While much attention has been on the overhaul of the Rijksmuseum building, equal attention has been paid to the infrastructure to meet the demands of today’s connected world.

Richard Everett & Ben Gilbert
An overview of the work of The Wellcome Trust Photographic Unit
The Wellcome Trust Photographic Unit, part of the Wellcome Library, is responsible for all Photographic and Imaging work within the organisation. The department undertakes three work streams, Corporate Photography for the Trust generally, studio Photography of the Wellcome Library’s holdings, and more recently strategic digitisation as part of the Library’s transformation strategy. This session gives an insight into this work, including the technical and creative challenges it brings as well as examples of the diverse work of the department.

Annette Ward, Stephen McKenna: Dundee University, School of Computing
The FABRIC project and innovative image browsing techniques.
Hundreds and thousands of images comprising digital collections are visualised using innovative technology developed as part of the FABRIC project. Colour, texture, shape, and other image attributes are analysed by novel computer software to produce beautiful displays that allow more intuitive browsing. Visual browsing opens up collections to individuals without the need of indexing terms and expands the potential for image application and use. FABRIC (Fashion and Apparel Browsing for Inspirational Content) was funded by the UK Technology Strategy Board and included collaborators from University of Dundee (project lead), the Victoria and Albert Museum, Liberty Art Fabrics, and System Simulation Ltd.

This project shows how the work of photographers in the cultural heritage sector can be displayed to the public in a new and very attractive way.

Hugh Gilbert, The Artist’s Studio – where artists make work

Talk Slides – Hugh Gilbert (PDF – 8.5mb)

This paper will demonstrate the contribution of VR as a research tool in a project where this photographer records the spaces where artists make work.

The contribution to our cultural heritage made by artists is well reflected and understood by their art works, and the position these hold in collections both public and private. There is much to be gained from seeing where the work is made.  This may be demonstrated by the recent securing and rebuilding of the studios of Paolozzi and Bacon.

I would like to present a project demonstrating the diverse and interesting nature of artists’ studios and the detail that can be shown, and talk about the groups to whom this information is useful and informative. The images provide an invaluable visual record for those doing research on the lives of artists.

The project demonstrates the usefulness of the images and their level of detail to those involved in research and in restoration particularly.