At the start of the summer I began carrying out Infra-red Reflectogram work for TSR Imaging and thought I’d put up some brief details and a link to anyone who may be interested.
Tager Stonor Richardson (TSR) has been in operation since 2002, widening access to infrared reflectography for paintings that cannot easily travel, such as those in historic houses and private collections; delicate works undergoing conservation treatment; and important works on display in museum collections.
The Infrared reflectogram imagery is carried out using the high resolution OSIRIS camera which is capable of rapidly producing composite images of up to 16 mega pixels. It uses an InGaAs array detector with an operation wavelength of 0.9-1.7μ and so has far greater penetration than infrared photography using an adapted digital camera.
If you would like to look at the work TSR has carried out or are generally interested in using Infra-red imagery or contact details please take a look at their website.
All the best, Colin.
FADGI have released a draft of their new “Technical Guidelines for Digitizing Heritage Materials” to replace their 2010 document.
It is a draft and if you follow the link below there is an opportunity to pass on any comments you may have.
Modulation Transfer Function
The Modulation Transfer Function ( MTF ) of an imaging system is a measure its ability to resolve detail within the image. The MTF is usually represented as a graph and plots the Modulation Transfer Factor ( Mu) over a range of spatial frequencies (u), Where the Modulation Transfer Factor represents the percentage change of modulation at each spatial frequency.
Just finished putting together my talk on “Image Quality” for the Association for Historical and Fine Art Photography annual conference at the Wellcome Trust tomorrow and looking forward to meeting friends, old and new.
It’s been a few weeks since I last updated this blog so I thought I’d start with a picture taken earlier in the year entitled, “You’re not a goldfish”. Great fun taking the pictures, especially when the family of walkers came past.
You’re not a goldfish
It’s been a busy few weeks doing some installation photography, delivering a colour management lecture to digital humanities students at UCL and training students and staff to use the equipment at their new digitisation suite. Also spent a couple of days with some colleagues from the Association for Historical and Fine Art Photography (AHFAP) at the Museum Associations 2013 conference in Liverpool to promote good photographic practise encompassing capture, output, preservation and image asset management. Thanks to all those who stopped and had a chat and I hope we were helpful.
Had a great day at the AHFAP conference at Tate Modern. I only managed the morning session due to work commitments but really enjoyed the presentations by Sarah Saunders on the role of the photographer and metadata in heritage workflow, Gwen Jones of the Centre for Heritage Imaging and Collection Care (CHICC) at the John Rylands Library talking about the use photography to investigate rare manuscripts amongst other work they carry out and Maureen Pennock from the British Library who spoke about short and long term preservation of heritage content.
I’m now getting back to sorting out some material for the new AHFAP eResource site which should be up and running early next year and doing tests to improve colour and tone reproduction in the photography of flat copy works. Should have something sorted out soon.
The Association for Historical and Fine Art Photography annual conference 2013 takes place on Thursday 14th November. If haven’t already got a ticket you may need to hurry. There are very few tickets remaining.
There is a really strong set of presentations this year covering a variety of aspects of photography in the cultural heritage sector. If you have an interest in this field I suggest you book asap, the last time I looked there were fewer than 10 tickets remaining.
The full list of speakers can be found at the link below:
I’ve been spending the last week sorting out a small set of monochrome prints for an office installation and thought I’d share a few of them here. There’s no theme or any loose connection between the pictures except they were moments in time I happened to see, and lucky enough to photograph and I’d like to think they all work individually in there own right.
Glastonbury Festival 2008
Those were the days.
Free as a bird, Manhattan 1996.
Marriage in Rome.
The Chrysler Building.
The 2013 AHFAP UK Conference will be held on Thursday 14 November in the Starr Auditorium at Tate Modern, London.
Innovating out of Austerity
For the first time, the conference will have a broad theme, and this year it is ‘Innovating out of Austerity’. We have now had three years of austerity, so how are image-makers in the UK cultural heritage sector adjusting to these changes, what new practices are being introduced and what innovations made?
The theme is not exclusive and papers on other topics and techniques relevant to our sector are equally welcome.
It is planned that the timetable will accommodate papers of 15-, 30- and 45-minute durations. Please submit your proposals to email@example.com by Monday 30 September.
For further information and to book a place at the conference see http://www.ahfap.org.uk/conferences/2013-uk-conference/
Just returned from a break in the Ardeche, France and thought I’d share a few pictures. great scenery, great weather and a great river to cool down in.
Gorges de l’Ardeche
Having fun in the river, Gorges de l’Ardeche
Gorges de l’Ardeche
Pont d’Arc, Ardeche
Congratulations to Rozenn Quere and her co-contributor Yasmine Eid-Sabbagh for winning the Recontres d’Arles Discovery Award 2013 earlier this month with their series “Possible and Imaginary Lives”.
Rozenn worked with me at the National Gallery for a while whilst she was a student in Paris and it’s good to see she is still working successfully.
If you want any information regarding the Recontres d’Arles Festival please follow the following link: