2and3D Photography is about sharing. We are bringing photographers, conservators, curators, studioplanners, data analysts and scientists together so that they can exchange knowledge and experience enabling them to collaborate on even more mind-blowing projects.
Improving imaging standards through dialog
Embracing Collaboration, Support, and Knowledge Sharing
Isidora Bojovic has extensive heritage and commercial photography experience - specialising in still life, museum object photography and architecture. She is the Chair at the Association for Historical and Fine Art Photography and leads the Science Museum Photography Studio in London.
In the runup to the 2and3D Photography - Practice and Prophecies, Isidora says from London: “It is a great pleasure to give a talk at the long anticipated 2and3D Photography conference and have a chance to introduce AHFAP to an audience of exceptional imaging experts.”
The idea of a truly global collaboration dates back to 2011, sparking further interest at AHFAP’s first-ever international conference held in Brighton. At this event, the then-chair, James Stevenson, articulated to colleagues, among whom was Cécile van der Harten, an inclination towards collaborative progress rather than individual reinvention. Subsequently, the inaugural 2and3D Photography conference took place in 2015 in Amsterdam, establishing an enduring partnership between Rijksmuseum and the AHFAP, a legacy which has persisted ever since.
Isidora: “What I particularly appreciate in this partnership is that it was founded on some of the AHFAP core values: collaboration and knowledge sharing. It was established out of need to align standards globally, share our daily experiences and jointly elevate the quality of imaging processes across the sector.”
Isidora talks about previous editions of 2and3D Photography - Practice and Prophecies held entirely online, during Covid-19 pandemic. “It was an uncertain time. Our jobs were radically affected by the new state of the world. Suddenly, most of us found ourselves housebound, with all ongoing work suffering major disruption. What 2and3D Photography and AHFAP online conferences offered in that period of our lives was truly phenomenal. The comprehensive online programmes filled with talks of resilience and remodeling of imaging methods reaffirmed that we were not working in isolation, and that innovation is still taking place globally across the sector. These events served as the driving force of our communities, providing opportunities to connect with colleagues both locally and abroad, and maintaining the flow of information. And just like in those years, the impact of these two conferences continues to be significant today.”
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.”
2D photography with (less) professional equipment
How to have every camera achieve its maximum
Henni van Beek lives and works in Amsterdam’s old city center. His studio is on the ground floor, above that, his home. He sets a perfect cup of coffee in his kitchen using a measuring scale, his own coffee mill and a nice high-pressure machine with a piston. This precision is a representative depiction of the independent photographer, who mainly focuses on advising and providing training to museums and cultural organizations in recent years. He calls himself “a techy”.
He takes a sip of the syrupy black gold and says: “I especially love the technique of 2D photography. This love started in 1987, when I began photographing artists’ paintings. I also shot works in 2D for the Rijksmuseum over the past decades. Furthermore, I contributed to writing a manual on this subject for the museum and was involved in implementing the guidelines for digitization, serving as a framework for all photography in the museum. I also developed my own tool for quality control: the Rijksmuseum Image Performance Tool, abbreviated as: RIPT.”
With the expertise in this field that he has acquired over the years and through the contacts he has made via the Rijksmuseum, various people in the heritage sector now approach Henni to share his knowledge and experience. This is not limited to the museums in the Netherlands, but it also includes those abroad. The expert remains humble regarding this. “The recognition feels good. I consider it an honor that the Rijksmuseum asked me to give another workshop during the 2and3D congress. I was asked to do that during earlier editions too.” He hopes to inspire others as well. Enthusiast: “I look forward to meeting and interacting with colleagues from the Netherlands and abroad.”
In the workshop Heritage Photography Unraveled. Life after Delta-E Henni wants to present a primer that makes it possible to evaluate the color control of a file without having to pay for software. Henni explains: “Delta-E, by Picturae, filled this role in the past. This free website was taken offline. I have my workshop attendees see how they can proceed in other ways.”
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.”