Members Directory

The Members Directory is a new service where you will be able to find AHFAP members that offer commercial imaging services to the cultural heritage industry in the UK.

The directory and its contents are offered in good faith. Reasonable efforts have been made to ensure the accuracy of the information and AHFAP does not accept responsibility for any errors or omissions in the details listed. Classified entries of members’ services does not imply any form of recognition, recommendation or guarantee of the member or the products and services provided. Readers are advised to check any information offered in the directory to their own satisfaction before relying upon it.

The directory is listed in alphabetical order.

To be listed in the directory please send an email to, listing costs £15 per membership year. Details should include the following: company or trading name, contact name and telephone, address and web address and skills, in no more than 300 characters including spaces.

Trading NameContact NameTelephoneAddressWeb/email AddressSkills and Expertise
Antonia Reeve PhotographyAntonia Reeve+44(0)7808 474 926
+44(0)131 346 0469
4/1 Grosvenor Gardens
Edinburgh EH12 5JU
I have many years experience in photographing for Galleries, Museums, Conservators, Artists , Craftsmen and private owners.

This includes Artwork Photography, Installation & Architectural Photography, Press and PR, and Digital Archiving.
Claire Collins PhotographyClaire Collins07961 108831Peckham, South East
With over 15 year’s experience in Photography I specialise in the Cultural and Heritage sector, as well as fine art and antiques. I have been trained and have extensive experience in handling and photographing all manner of objects of all shapes, sizes and materials, including rare books and fragile works on paper and I have a full understanding of museum practices. I offer a friendly and professional service, producing high quality, fully colour managed imagery both for record purposes and/or creative images for publication.
Colin White Photography and Digital ImagingColin White07530 330293204 Albyn Road, Deptford, London, SE8
With over 20 years experience of photography and digital imaging in the cultural heritage sector Colin White Photography and Digital Imaging offers UK wide solutions for creative/technical photography, photography workflow, colour management, image quality management and image asset management.
Cultural Heritage Digitisation LtdJames Stevenson, Ken Jackson07562 894001, 07967 650614Kensal Rise, London
CHD is formed by the partnership of two experienced cultural heritage photographers James Stevenson and Ken Jackson. Both have worked in UK National Museums and have a combined experience of 50 years in this field. This experience of photographing almost every type of cultural object means that CHD has great confidence in satisfying customer needs.
Dani TagenDani Tagen07983 833203Deptford Bridge,
Cultural and Heritage Photographer with over 15 years experience.

Consultant and Training for Museums, Galleries, Collectors, Publishers and Artists.

Main clients: the British Museum; Royal College of Music; V&A Museum; National Maritime Museum; The Puerto Rico Science, Technology and Research Trust; The Horniman Museum and Gardens; Maidstone Museum; Museum of London among others.
DigitisingArt.CoMax Browne07966 436973Highgate, London/ Painswick,
I have nearly 30 years experience as a freelance cameraman/photographer and am based in both London and the Cotswolds. An art history background has led me to specialise in photographing paintings and works on paper and video work includes shooting documentaries, infomercials and presentations for websites and TV.
GenusSimon Brown024 7625 4955Hammond Close, Nuneaton, Warwickshire, CV11
We offer a wide range of digitisation equipment and services. Specialising in the digital capture of rare, fragile and specialist material. Our free consultancy, 'white-glove' handling approach and state-of-the-art digitisation studio ensure we work to the highest possible standards.
Hugh Gilbert PhotographyHugh Gilbert07973 14272980 - 100 Gwynne Road, London, SW11
Presenter of Hot Shots, Photography MasterClass in Architecture, for Discovery Programme. Judge for the Association of Photography Awards. He has an ongoing project, photographing artists in their studios. Hugh specialises in 360 degree Virtual Reality imaging, and high resolution photography of Art Works for reproduction and publication
Kathleen Arundell PhotographyKathleen Arundell07943 965651Lewisham,
A freelance photographer specialising in the Cultural and Heritage sector. Studio work is completed using in-house Hasselblad camera systems to shoot artworks, as well as retail and museum objects. The appropriate standards in colour management and object handling are adhered to. Location and event work is completed using Nikon and Canon camera systems, and clients include the Wellcome Trust, the Imperial War Museum, Royal Museums Greenwich (National Maritime Museum, Royal Observatory and Cutty Sark), and the Royal Horticultural Society.
Peter HugginsPeter Huggins07785 311449The studio,
Honeycombe Road,
Little Plumstead,
Norwich, NR13 5HY
Pete huggins studio and location photography for advertising and commerce. I have been freelance since 1980 after 11 years as a Medical Photographer. Many of my clients now include museums and Art collections and I’ve contributed to many catalogues and books in this field, as well as Architecture, Travel and Food.
TownsWeb ArchivingPaul Sugden01536 713834PO Box 6041, Kettering, Northamptonshire, NN15
We are specialists in digitising old, fragile, and precious cultural heritage collections. We have photographed all manner of historic and archival items – from books, journals and photographs; to 35mm slides, microfilm and oversize maps.

We also offer unique digital collections management software for organising and accessing digital image collections, and a web design service for creating bespoke searchable image gallery websites.

Organisations we have worked with include Marks & Spencer, The Royal Military Academy Sandhurst, English Heritage, The Royal Photographic Society and others.
MOGiguere PhotographyMarc-Olivier Giguère +1 514 794-58404890 Drolet, Montreal, H2T2G7,
I was born in the Middle Ages in a past life. I’m half joking. I have been travelling frequently to Europe for the past 15 years and I used to live England and Poland. Unsurprisingly, I have a business in heritage architecture (castles, real estates, etc.) and fine art (creative) photography. My playground is the whole Europe. I’m also an expert in digital photo editing and restoration; and a photography instructor.
AHFAP Commercial Directory

Recent Posts

AHFAP Standards Survey Results

By: Kristin A. Phelps, Peter Burns, and Don Williams

Taiichi Ohno suggested that “without standards, there can be no improvement.” International standards create compatibility and drive interoperability throughout a number of industries. And certainly, standards seem to be a buzzworthy topic in cultural heritage imaging. In fact, most of the industry’s community conferences include at least one talk about standards and the AHFAP/JISCMail discussion forum often hosts dialogues and debates about standards. Indeed, in the last year on the JISCMail forum there was an interesting interchange about colour accuracy, which has historically been one of the most debated imaging standards. This discourse led to the creation of a brief ten question survey of AHFAP members which ran from February 20-March 9, 2018 and focused on what kind of imaging standards were regularly in use by the AHFAP community. The survey results have provided some understanding of the demographics of AHFAP’s membership as well as some interesting insight into how standards are currently being used within the community. It was clear from the responses that this is a topic begging further discussion.

Before diving into the survey results, it is important to clearly define what is meant when several important terms are used in context of cultural heritage imaging. These terms are: standards; guidelines; policies; and procedures. Standards are agreed upon methods for objectively quantifying how to accurately measure digital imaging performance. These are usually defined at the national or international levels by recognized experts in their fields. It is important to understand that standards do not establish the numerical levels by which ‘good’ imaging is defined. They only establish ‘how’ to objectively measure performance. They do not define what performance levels define excellent, good, or bad for a particular purpose or collection. The latter is established through guidelines based on use case and importance.

For cultural heritage imaging, guidelines include the Federal Agency Digital Guideline Initiative (FADGI) and Metamorfoze. Such sets of guidelines offer suggestions on what levels of imaging performance, as evaluated through standards, are needed for different use cases and collection materials. These guidelines have common aim points but vary in ‘goodness’ levels, based on the amount of allowable tolerance or variability around the aim. In this way they largely establish consistent levels as articulated in the policy statement. Policies are best defined as consistent, common, and good digital imaging practices across cultural heritage institutions adopted for lower costs (less rework), effective communication, and ease of management. These are currently applied to 2D imaging of flat works.

Finally, procedures most often include the use of imaging targets (test charts), software tools, quality assurance and workflow practices, and training, to effectively execute policies using standards. Examples for cultural heritage imaging include targets (e.g., DICE or UTT targets), software (Imatest, GoldenThread,, ImCheck, OpenDICE, and IQ-Analyzer), and training (Lyrasis, conference tutorials, imaging interest groups).

Now that the terms have been clearly defined, on to the survey results!


The first three questions (What is your location? What types of collections do you work with? How long have you been working in cultural heritage imaging?) provided demographic information for the survey respondents. Of the 55 total responses, 44 were from the UK and the remaining 11 came from Europe, Africa, Oceania and North America. Museums were the most common collections that respondents reported working with at roughly 59%, followed by archives (46%), libraries (39%) and other (33%). Examples of types of collections which constituted ‘other’ were art, artists, and galleries. For the 55 respondents, 27 have been engaged in cultural heritage for 15 years or more; 15 have worked in the sector for 3-7 years, 10 for 8-14 years and 3 for 0-2 years.


The fourth question queried which set(s) of cultural heritage imaging standards respondents were aware of. Metamorfoze (guidelines from the Netherlands) and FADGI (guidelines from the US) were nearly equal with 45 and 47 respondents respectively. 21 respondents were familiar with other standards, primarily the ISO 1926-family (which are international guidelines).


This question invited respondents to rate seven performance metrics in order of importance to their workflow. In order from most important to least, respondents selected Exposure, White Balance, Resolution, Noise, Colour Registration Error, Colour Encoding Error, and Other.


The sixth question asked if respondents used any software or other tools to assist in complying with standards. Nearly 78% responded that they did use some kind of aid in their imaging practice while only 22% responded that they did not use anything.


The next question enquired if respondents used a target alone, a target with software, nothing or something else. Only 5% of respondents did not use anything. Around 35% indicated that they used a target alone for their work. 47% stated that they used both a target and software. Of the approximately 13% of those who responded other, most indicated that they were also using either a target or a combination of a target and software.


This question surveyed what software was being used by those respondents who were using software. The most popular piece of software by far was, which was being used by 24 out of the 34 individuals who responded to the question. 4 other respondents used Golden Thread; 3 used Capture One CH; 2 used Basiccolor; 2 used Hasselblad Phocus, other software, or nothing; 1 used IQ-Analyser; the final respondent was using OpenDice. It should be noted that a number of respondents reported utilizing more than one piece of software.


The ninth question asked why respondents were not regularly incorporating standards into their work. There were 36 responses to this question, with the top responses being lack of time, lack of financial resource, lack of support and lack of education.


The final question asked for any further input that respondents wished to share. Comments ranged from support for having standards, but calling for more education in their use to suggestions for a community developed set of standards. The most frequent request was for more education to be able to understand and adhere to standards. A word cloud was generated from the responses showing the most frequently occurring words from the responses.

It’s clear that the survey revealed interesting information about the community’s views on standards. It is clearly a subject of importance that affects AHFAP members’ daily workflows and output. With standards assigning quantifiable measures, and guidelines providing recommendations on imaging performance, policies help to identify issues and scope. Procedure establishes proper steps to take to enact uniform compliance. Quite simply, the resulting output creates a reliable image which benefits digital preservation and scholars. And, if we believe Taiichi Ohno, using standards in our work will help to create a better image.

For further reading

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