DOCSLIB.ORG

Second Release)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Second Release) ICT-PSP Project no. 297158 EUROPEANAPHOTOGRAPHY EUROPEAN Ancient PHOTOgraphicvintaGe repositoRies of digitAized Pictures of Historical qualitY Starting date: 1st February 2012 Ending date: 31st January 2015 Deliverable Number: D 3.1.2 Title of the Deliverable: Digitised material (second release) Dissemination Level: Public Contractual Date of Delivery to EC: Month 30 Actual Date of Delivery to EC: July 2014 Project Coordinator Company name : KU Leuven Name of representative : Fred Truyen Address : Blijde-Inkomststraat 21 B-3000 Leuven PB 3301 Phone number : +32 16 325005 E-mail : [email protected] Project WEB site address : http://www.europeana-photography.eu Page 1 of 37 EUROPEANAPHOTOGRAPHY Deliverable D3.1.2 Digitized material (second release) Context WP 3 Digitisation WPLeader CRDI – Ajuntament de Girona Task 3.1.2 Digitised material (second release) Task Leader CRDI – Ajuntament de Girona Dependencies Author(s) David Iglésias (CRDI. Ajuntament de Girona) Contributor(s) Joan Boadas (CRDI. Ajuntament de Girona), Promoter, Fondazione Alinari, TopFoto, Imagno, Parisienne, ICCU, Polfoto, Gencat Cultura, United-Archives, NALIS, MHF, Arbejdermuseet, ICIMSS, KU Leuven, Lithuanian Museums Reviewers Sofie Taes (KU Leuven), Davide Madonna (ICCU), Nikolaos Simou (NTUA) Approved by: History Version Date Author Comments 0.1 24/07/2014 David Iglésias - CRDI 1.0 30/07/2014 David Iglésias - Updated according CRDI to the peer review Statement of originality: This deliverable contains original unpublished work except where clearly indicated otherwise. Acknowledgement of previously published material and of the work of others has been made through appropriate citation, quotation or both. Page 2 of 37 EUROPEANAPHOTOGRAPHY Deliverable D3.1.2 Digitized material (second release) TABLE OF CONTENTS 1 EXECUTIVE SUMMARY ..................................................................................................................... 4 2 INTRODUCTION ............................................................................................................................... 5 2.1 BACKGROUND ........................................................................................................................................... 5 2.2 ROLE OF THIS DELIVERABLE IN THE PROJECT ...................................................................................................... 5 2.3 APPROACH ............................................................................................................................................... 5 2.4 STRUCTURE OF THE DOCUMENT ..................................................................................................................... 6 3 DIGITISATION EXPERIENCE .............................................................................................................. 7 3.1 OVERVIEW OF DIGITISATION STRATEGIES .............................................................................................. 7 3.1.1 Digitisation strategies and national policies ............................................................................................. 8 3.2 DIGITISATION WITHIN THE FRAMEWORK OF EUROPEANAPHOTOGRAPHY .............................................. 9 3.2.1 Guidelines ...............................................................................................................................................11 3.2.2 Equipment and procedures .....................................................................................................................11 3.2.3 Training ...................................................................................................................................................13 3.2.4 Special considerations on graphic formats ..............................................................................................15 4 DIGITISATION PROGRESS ................................................................................................................17 4.1 ALINARI 24 ORE ........................................................................................................................................17 4.2 FONDAZIONE ALINARI.................................................................................................................................17 4.3 TOPFOTO ................................................................................................................................................18 4.4 IMAGNO .................................................................................................................................................18 4.5 PARISIENNE DE PHOTOGRAPHIE .....................................................................................................................19 4.6 ICCU/SGI ................................................................................................................................................21 4.7 POLFOTO ................................................................................................................................................22 4.8 CRDI – GIRONA CITY COUNCIL .......................................................................................................................22 4.9 GENERALITAT DE CATALUNYA .......................................................................................................................24 4.10 UNITED ARCHIVES ......................................................................................................................................26 4.11 MUSEUM OF HISTORY OF PHOTOGRAPHY (KRAKOW)...........................................................................................27 4.12 ARBEJDERMUSEET .....................................................................................................................................27 4.13 THEATRE INSTITUTE (BRATISLAVA) .................................................................................................................28 4.14 ICIMSS....................................................................................................................................................29 4.15 KU LEUVEN ..............................................................................................................................................30 4.16 LITHUANIAN ART MUSEUM ..........................................................................................................................31 4.17 NALIS FOUNDATION ...................................................................................................................................32 5 TRACKING .......................................................................................................................................33 6 EVENTS ...........................................................................................................................................34 7 CONCLUSION ..................................................................................................................................35 7.1 RESULTS .................................................................................................................................................35 7.2 IMPACT ..................................................................................................................................................35 8 ANNEX ............................................................................................................................................36 8.1 ANNEX 1 - SURVEY ....................................................................................................................................35 8.2 ANNEX 2 – LISTS ......................................................................................................................................37 Page 3 of 37 EUROPEANAPHOTOGRAPHY Deliverable D3.1.2 Digitized material (second release) 1 EXECUTIVE SUMMARY This deliverable is the second part of the presentation of the results of the digitisation process applied to the original photographs selected for publication in Europeana. The first part was written one year ago, in July 2013. One year later, a total of 422.127 images were digitised and 355.327 images were catalogued and can in most cases be accessed through each partner‟s website. In this document we analyse these figures. It also contains additional information on the digitisation experience in the framework of this project. As a result of digitising such a big amount of old photographs during about two and a half years, all partners acquired some kind of experience in order to improve their procedures, methodologies and technical knowledge. The first part of the document (section 3) is devoted to the digitisation experience. It provides general information concerning digitisation in order to have an overview of the role of each partner in the digitisation field and to better understand how the project has an influence on the strategy of digitising photographic heritage. It also provides specific information from each partner concerning digitisation during the project. We mainly focus on the use of the guidelines established at the beginning of the project; the criteria for acquisition and use of equipment and software for digitising and for managing the digital collection; the assessment of the training sessions organized in the framework of this workpackage; finally, some considerations about graphic formats, considering that the selection of different graphic formats for archival
Load more

Recommended publications
  • The IQ Camera System
    The IQ camera system Unlimited creativity at your fingertips “I am amazed by the image quality I’ve gotten ‘out of the box’ with the Phase One IQ180 on the Phase One 645DF camera. I can create images with more detail and unique looks than with any other camera out there. It helps me develop styles unique to me,” Jens Honoré, lifestyle photographer. World leading image quality Realize your vision. The IQ180 digital back is the world’s most powerful commercial photographic capture device. With up to 80 megapixels resolution, 12.5 f-stops extreme dynamic range and Capture One, the world’s leading RAW converter, it delivers superior image quality for the world’s leading photographers. © Jens Honoré Touch the future With the launch of the IQ series digital backs, Phase One has stepped into the future of medium format photography. Every component in this new line of digital backs is new or has been redesigned compared with previous generations digital backs. The result is a digital camera back, which sets the industry standard with the highest resolution image sensor, the highest dynamic range, the first camera featuring a USB3 connection, a big 3.2” high resolution touch screen and much more…. The new IQ series digital backs offer up to 80 megapixels resolution The IQ series digital backs supports your photography in a variety of work captured in full-frame 645 format. With it you can capture images of conditions. You can capture your images with 80 megapixels resolution stunning quality with extreme detail reproduction. The high resolution or you can use the Sensor+ technology and go for a faster workflow, cap- You can familiarize yourself with the IQ digital back gives you maximum versatility with your images, ensuring high quality turing images with up to 20 megapixels resolution at 4 times higher ISO over the next pages and book a personal product and usage, even when you work with cropped images.
    [Show full text]
  • Still Photography
    Still Photography Soumik Mitra, Published by - Jharkhand Rai University Subject: STILL PHOTOGRAPHY Credits: 4 SYLLABUS Introduction to Photography Beginning of Photography; People who shaped up Photography. Camera; Lenses & Accessories - I What a Camera; Types of Camera; TLR; APS & Digital Cameras; Single-Lens Reflex Cameras. Camera; Lenses & Accessories - II Photographic Lenses; Using Different Lenses; Filters. Exposure & Light Understanding Exposure; Exposure in Practical Use. Photogram Introduction; Making Photogram. Darkroom Practice Introduction to Basic Printing; Photographic Papers; Chemicals for Printing. Suggested Readings: 1. Still Photography: the Problematic Model, Lew Thomas, Peter D'Agostino, NFS Press. 2. Images of Information: Still Photography in the Social Sciences, Jon Wagner, 3. Photographic Tools for Teachers: Still Photography, Roy A. Frye. Introduction to Photography STILL PHOTOGRAPHY Course Descriptions The department of Photography at the IFT offers a provocative and experimental curriculum in the setting of a large, diversified university. As one of the pioneers programs of graduate and undergraduate study in photography in the India , we aim at providing the best to our students to help them relate practical studies in art & craft in professional context. The Photography program combines the teaching of craft, history, and contemporary ideas with the critical examination of conventional forms of art making. The curriculum at IFT is designed to give students the technical training and aesthetic awareness to develop a strong individual expression as an artist. The faculty represents a broad range of interests and aesthetics, with course offerings often reflecting their individual passions and concerns. In this fundamental course, students will identify basic photographic tools and their intended purposes, including the proper use of various camera systems, light meters and film selection.
    [Show full text]
  • 645AFD Instruction Manual Companion for Digital Photography
    Mamiya 645 AFD Instruction Manual Companion for Digital Photography Mamiya 645 AFD Instruction Manual Companion for Digital Photography Congratulations on your purchase of the Mamiya 645AFD. To make the transition from film to digital easier, we are including this digital companion that explains all of the new indicators you will see on the LCDs of your Mamiya 645AFD. Please read the owner’s manual before reading this companion. Because the Mamiya 645AFD was made to communicate with digital camera backs, these indicators will inform you of the status of the communications between your Mamiya 645AFD and digital camera back. If you do not have a digital back, these indicators will not appear and you do not have to read any further. There are three basic modes that your Mamiya 645 AFD goes through when taking a digital image. First is the Normal or pre-capture mode. The camera is in this mode before the shutter is released. While in this mode the camera virtually acts as if there were a film magazine attached. Shutter speeds and apertures are displayed on the internal and external LCD displays. The second mode is after the shutter release button has been pressed. This is the Capture mode. At this time the Mamiya 645 AFD will start to act very differently when a digital back is attached. There is a whole new set of indicators that will be displayed on the LCD displays of the camera. The After Capture mode is the third and final mode. Again, in this mode there are new indicators that will appear on the camera’s LCD displays.
    [Show full text]
  • User Manual Hasselblad CF Digital Camera Back Range C O N T E N T S
    User Manual Hasselblad CF Digital Camera Back Range C O N T E N T S Introduction 3 5 MENU—ISO, White balance, Media, Browse 31 1 General overview 6 Menu system overview 31 Parts, components and control panel 8 Navigating the menu system 31 Initial setup 10 Language choice 33 Shooting and storage modes 11 ISO 33 White balance 34 2 Initial General Settings 14 Media 34 Overview of menu structure 15 Browse 35 Setting the menu language 17 6 MENU—Storage 36 Delete 37 3 Storage overview – Format 42 working with media and batches 18 Copy 42 Batc hes 18 Batch 43 Navigating media and batches 18 Default Approval Level 44 Creating new batches 20 Using Instant Approval Architecture 21 7 MENU—Settings 45 Reading and changing approval status 22 User Interface 46 Browsing by approval status 22 Camera 48 Deleting by approval status 23 Capture sequence 50 Connectivity 51 4 Overview of viewing, deleting Setting exposure time/sequence 54 and copying images 24 Miscellaneous 56 Basic image browsing 24 About 57 Choosing the current batch 24 Default 58 Browsing by approval status 24 Zooming in and out 24 8 Multishot 59 Zooming in for more detail 25 Thumbnail views 25 General 59 Preview modes 26 Histogram 27 9 Flash/Strobe 60 Underexposure 27 General 60 Even exposure 27 TTL 60 Overexposure 27 Full-details 27 10 Cleaning 61 Battery saver mode 28 Full-screen mode 28 11 Equipment care, service, Overexposure indicator 28 technical spec. 63 Deleting images 29 General 63 Transferring images 29 Technical specifications 64 Inset photo on cover: © Francis Hills/www.figjamstudios.com.Not all the images in this manual were taken with a Hasselblad CF.
    [Show full text]
  • Indoor Navigation Based on Fiducial Markers of Opportunity
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2013-12-05 Indoor Navigation based on Fiducial Markers of Opportunity Lakhani, Mazhar Ali Lakhani, M. A. (2013). Indoor Navigation based on Fiducial Markers of Opportunity (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/26507 http://hdl.handle.net/11023/1176 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Indoor Navigation based on Fiducial Markers of Opportunity by Mazhar Ali Lakhani A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE DEPARTMENT OF ELECTRICAL AND COMPUTER ENGINEERING CALGARY, ALBERTA NOVEMBER, 2013 © Mazhar Ali Lakhani 2013 Abstract Indoor navigation has gained significant importance in the last decade due to its applications in the location based services industry. The outdoor navigation technology of GNSS by itself does not offer good solutions due to presence of multipath and low SNR in indoor environments. Complimentary sensors like IMU, magnetometers, cameras, etc., have their own set of problems. A camera however, provides a wealth of information for position estimation. The main aim of this thesis is to analyse camera based navigation systems using stationary figures of opportunity.
    [Show full text]
  • Programmable Image-Based Light Capture for Previsualization
    ii Abstract Previsualization is a class of techniques for creating approximate previews of a movie sequence in order to visualize a scene prior to shooting it on the set. Often these techniques are used to convey the artistic direction of the story in terms of cinematic elements, such as camera movement, angle, lighting, dialogue, and char- acter motion. Essentially, a movie director uses previsualization (previs) to convey movie visuals as he sees them in his ”minds-eye”. Traditional methods for previs include hand-drawn sketches, Storyboards, scaled models, and photographs, which are created by artists to convey how a scene or character might look or move. A recent trend has been to use 3D graphics applications such as video game engines to perform previs, which is called 3D previs. This type of previs is generally used prior to shooting a scene in order to choreograph camera or character movements. To visualize a scene while being recorded on-set, directors and cinematographers use a technique called On-set previs, which provides a real-time view with little to no processing. Other types of previs, such as Technical previs, emphasize accurately capturing scene properties but lack any interactive manipulation and are usually employed by visual effects crews and not for cinematographers or directors. This dissertation’s focus is on creating a new method for interactive visualization that will automatically capture the on-set lighting and provide interactive manipulation of cinematic elements to facilitate the movie maker’s artistic expression, validate cine- matic choices, and provide guidance to production crews. Our method will overcome the drawbacks of the all previous previs methods by combining photorealistic ren- dering with accurately captured scene details, which is interactively displayed on a mobile capture and rendering platform.
    [Show full text]
  • Large Format View Camera a Creative Tool with Limitless Potential
    Section3b LargeFormat – View Arca Swiss . 158-169 Horseman . .170-179 Linhof . 180-197 Sinar . .198-217 Toyo . 218-228 ARCA SWISS DISCOVERY 4x5 SYSTEM Arca Swiss cameras are more than the sum of their parts. Each and every model gives you an entry into the Arca system, allowing you access to the most complete line of professional accessories available. Designed by working photographers, this modular system allows you to add components as needed, giving you the freedom to purchase what you need when you need it. In addition, Arca Swiss cameras are ergonomically designed, allowing the photog- VIEW CAMERAS rapher to control perspective and depth-of-field accurately. And Arca has devised a fail-safe (and foolproof) system for Arca Swiss attaching the lensboard bellows and camera back. Discovery The affordable Arca Discovery is an economical introduction to the Arca Swiss system. In spite of its 158 low cost, the light-weight Discovery shares many of the unique features that Arca cameras are renowned for (plus a few of its own). The Discovery is also compatible with most Arca system accessories, such as rails, viewers, hoods, masks, rollfilm holders and more. FEATURES ■ Precision micro gear ■ Made of lightweight Arca Swiss 4x5 Discovery Camera (0210445) focusing metal alloys Consists of: 30cm monorail (041130), monorail attachment piece 3/8˝, Function Carrier Front ■ Superfluous refocusing ■ Precision Swiss construction (Discovery), Function Carrier Back (Discovery), after parallel displacements Format Frame Front (Discovery), Format Frame ■ Includes Rucksack case Back (Discovery), standard 38cm bellows ■ Yaw-free movements (72040), film and groundglass holder 4x5, 1 3 ■ Built-in ⁄4 and ⁄8 fresnel lens and Arca Swiss nylon backpack.
    [Show full text]
  • Phase One 645 DF and IQ Digital Back Users Guide
    User Guide: Phase One 645DF+ Camera and IQ2 Series Digital Back 2 3 Contents 1.0 Introduction 8 3.11 Flash Compensation Settings 46 1.1 Warranty 9 1.2 Installation and Activation of Software 9 1.3 Activation and Deactivation of Capture One 10 4.0 Introduction to the IQ2 Series Digital Back 49 1.4 Screen Calibration 11 4.1 Quick Start (shooting untethered) 50 4.2 General Hardware Setup 51 4.3 Indicator Lights 52 2.0 The 645DF+ Camera and IQ2 Digital Back System 12 4.4 Indicators 52 2.1 The Camera System includes 12 4.5 Tethered and Untethered Operations 53 2.2 Warranty and Services 13 4.6 CF Card Usage 55 2.3 Charging the Batteries for the IQ2 Digital Back 14 4.7 Secure Storage System (3S) 56 2.4 Camera Batteries (AA and rechargeable Li-ion battery) 15 4.8 Formatting your Memory Card 57 2.5 Sleep Mode 16 2.6 Attach and Remove Lens 17 2.7 Adjusting the Strap 18 5.0 Navigating the IQ2 User Interface and Menu System 58 2.8 Attaching the IQ2 Back 19 5.1 Menu Buttons 59 2.9 Names of Parts and Functions (Nomenclature) 20 5.2 Shortcuts 59 2.10 The Displays 21 5.3 Touch Screen Operation 60 2.11 Displays, Abbreviations and Electronic Dial Operation 22 5.4 ISO 61 2.12 The Buttons on the Back 23 5.5 White Balance 62 2.13 LED Lights 23 5.6 Custom White Balance 63 2.14 Setting Date and Time 24 5.7 Live View 64 2.15 Setting Diopter 24 Replacing the Diopter Correction Lens 25 2.16 Eyepiece Shutter 25 6.0 Play Mode 67 6.1 Play Mode Views 68 6.2 Play Mode: Context Menu 69 3.0 Basic Functions 28 6.3 Info Bar 70 3.1 Setting ISO 28 6.4 Play Mode Navigation
    [Show full text]
  • The Hasselblad Manual, Seventh Edition
    The Hasselblad Manual This page intentionally left blank The Hasselblad Manual Seventh Edition Ernst Wildi AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Bur.lington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2008, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (ϩ44) 1865 843830, fax: (ϩ44) 1865 853333, E-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-81026-3 For information on all Focal Press publications visit our website at www.elsevierdirect.com Typeset by Charon Tec Ltd., A Macmillan Company, (www.macmillansolutions.com) 08 09 10 11 5 4 3 2 1 Printed in China Contents PREFACE xiii 1 HASSELBLAD FROM FILM TO DIGITAL
    [Show full text]
  • What's New in Design, Technology, and Price
    What’s New in Design, Technology, and Price PEI Technical Editor Andrew Just one year ago MegaVision, professional camera bodies Rodney plied the aisles at the Leaf/Scitex, and Phase One all and interchangeable lenses. recent Photo Marketing introduced high-end digital Brand new high-end digital Association (PMA) and Seybold cameras that could produce cameras were sparse at the Boston trade shows, scouting out single-shot, instantaneous recent trade shows—2000 may the latest digital cameras. This files of 18MB, with prices be the turning point in the month and next, he shows us beginning at $23,000. price vs. resolution equation. what he found. First up: the new File size is no longer the Just days before PMA opened high-end models with profess- demarcation it once was, espe- in Las Vegas, Internet rumors ional features. Next month: new cially in the new generation of were flying about a break- prosumer models that are quickly prosumer digital cameras. through, high-end digital finding a niche in both the prof- Marketed to serious amateur camera housed in a profes- essional and consumer markets. photographers, these models sional camera body that could are capable of creating image produce 18MB digital files with files as great as 9MB, and sell instant capture—nothing earth- for no more than the consumer shattering in itself. But what he line is definitely digital cameras of just a few had everyone buzzing was the blurring between high- years ago, which produced price tag: less than $4,000. Was end digital cameras and resolutions no more than there really new technology low-end prosumer/ 1,200x1,000 pixels.
    [Show full text]
  • ANNEX 1 Digitised Material (Second Release)
    EUROPEANAPHOTOGRAPHY Deliverable D3.1.2 - ANNEX 1 Digitised material (second release) 01 CRDI - AJUNTAMENT DE GIRONA 02 Yes, it does. We elaborate an strategic plan every for years for archives department. This plan includes the actions on photography digitisation. We also have our internal protocols concerning technical parameters for digitisation and metadata required. http://www.girona.cat/sgdap/docs/pla_estrategic_12-15.pdf 03 CRDI is not really included in a national plan for digitisation-preservation of the photographic heritage. However, it exist a diagnostic report for a digitisation plan of the cultural heritage in Catalunya (2008) in which photographic records are included. It can be downloaded from: http://www20.gencat.cat/docs/Biblioteques/Tematic/Documents/Arxiu/Noticies/digitalitzacio_cultura_cataluny a/Informe_diagnostic.pdf (in Catalan) 04 50 %. We digitised 425.000 images of a collection of 2.400.000 photographs (that would be 20 %). However, we do a selection in the digitisation of our reportages (negatives). We digitise 20 % of these reportages. Thus, it is more realistic to consider that we already digitised around 50 % of our collection. 05 6,25 %. We digitised 50.000 images for EuropeanaPhotography. 06 CRDI started digitising photography in 1990. It is a long experience digitising photographic collections. However, we really started a high quality digitisation work in 2012 because of the quality requirements of this project. 07 Yes 08 The Technical Guidelines for Digitising Cultural Heritage Materials: Creation of Raster Image Master Files. (FADGI, 2010), These guidelines are important because they describe technical parameters that promote a well-defined imaging environment; they provide a consistent approach to imaging and metadata collection that will be appropriate for a wide range of outputs and purposes; and they define a common set of quality or performance metrics to be used in describing and evaluating the digital object, as well as methods of validating those measures to defined requirements 09 We miss case studies.
    [Show full text]
  • Direct Digitisation of Decorated Architectural Surfaces
    DIRECT DIGITISATION OF DECORATED ARCHITECTURAL SURFACES Keith Findlater, Lindsay MacDonald, Alfredo Giani - University of Derby, Kingsway House East, Kingsway, Derby, UK Barbara Schick - Bayerisches Landesamt für Denkmalpflege, Munich, Germany Nick Beckett - Metric Survey Team, English Heritage, York, UK ICHIM 03 – Tools and Methods for digitization / Outils et méthodes pour la numérisation Abstract The European project IST-2000-28008 ‘Veridical Imaging of Transmissive and Reflective Artefacts’ (VITRA) commenced in March 2002. It aims to facilitate the capture of high-resolution digital images of decorated surfaces in historical buildings. The principal objective is to design and develop a robotic carrier for a digital camera for remote acquisition of colorimetric images. Image processing algorithms are being developed for registration and correction of multiple adjacent images, channelling the stitched results to an image database for storage/retrieval adapted to the needs of users. Techniques will be explored for the interactive three-dimensional visualisation of the decorative images in augmented-reality settings. The consortium includes two user organisations, English Heritage (UK) and the Bayerisches Landesamt für Denkmalpflege (Germany), who are both extensively involved to establish imaging requirements for decorative surfaces in heritage building, and to demonstrate system operation at several sites of historical importance in the two countries. In the UK, St. Mary’s Church at Studley Royal, a Victorian church near Fountains Abbey in North Yorkshire and a UNESCO World Heritage Site, has been chosen for its wide variety of media (exquisite stained glass, wall paintings and encaustic tile pavement), while at Peterborough Cathedral the painted nave ceiling will be surveyed and recorded. In Bavaria, Walhalla (“home of the Gods”) has been chosen for conservation of its unique coffered metal ceiling, while Regensburg Cathedral has been selected for analysis of weathering damage to its exterior stonework and its famous stained glass windows.
    [Show full text]