2and3D Photography

Asked about her expectations for the upcoming conference in Amsterdam, Isidora comments “I very much look forward to reconnecting with colleagues and joining the broad network of imaging professionals. The conference will bring together a significant number of AHFAP members as well as a vast count of global leaders in cultural heritage imaging. The energy in the room is bound to be electrifying!

The significance of the Rijksmuseum and AHFAP partnership for the broad network of imaging professionals is substantial. The biyearly 2and3 Photography and a yearly AHFAP conference serve as a major platform for global standardization of museum photography and 3D imaging techniques. These two events provide invaluable opportunities for learning and open dialogue, facilitating extensive knowledge sharing and expert consultation. This distinctive approach to advancing the industry is something I deeply value on a personal level. I eagerly anticipate engaging in more stimulating conversations come May!”

During the second day of the conference, Isidora shares her own experiences in the lecture Against the Clock: Digitizing objects of horology: “I will present our team's efforts in digitizing a remarkable collection of the world's oldest clocks and watches, which is permanently exhibited at the Clockmakers Gallery, at the Science Museum in London. We tackled this remarkable yet challenging project through innovation, extensive research, and collaborative teamwork. During the presentation, I will provide insights into the techniques we developed, showcasing numerous image samples and technical solutions. My talk will focus on the daily practices and perseverance required to meet demanding project requirements.”

She continues passionately: “Embracing challenging project briefs that take us out of our comfort zone is just part of the deal in our field. I'm really hoping that by sharing our experience, we can inspire others to open up about their own struggles and how they've tackled them head-on with some seriously intense problem-solving skills, even when faced with unfamiliar demands. I truly believe there's immense value in not just showcasing our flawless successes, but also delving into the vulnerability of the learning process and the lessons we've drawn from those experiences.”

Henni says more about his workshop “It’s an introduction for photographers who photograph in 2D. When you do that, it’s important that the colors of such a reproduced drawing, painting, gouache, graphic or whatever other object can capture the color of the original as precisely as possible. In addition, when different people photograph the same work, all those results should be as close as possible to the original. Which system should you follow in order to attain the maximum result with every camera? What is the minimum needed to achieve the maximum color retention? How do you make, for example, a profile? And how are you going to use that profile?”

A bit more about the target group and the contents of Heritage Photography Unraveled. Life after Delta-E. Henni: “The workshop is geared towards photographers who work with the most professional equipment as well as towards the more modestly equipped photographer. How do you photograph cultural heritage following the national and international standards, such as FADGI and Metamorfoze? The emphasis is on color reproduction. On the one hand, I discuss how the maximum color reproduction can be achieved, thus the workflow; on the other, it’s about how a file can be checked for quality. The latter makes the workshop interesting for museums or organizations that hire an external photographer for collection photography, for example.”