DIGITAL HERITAGE APPLYING DIGITAL IMAGING TO CULTURAL HERITAGE

Transcription

1 DIGITAL HERITAGE APPLYING DIGITAL IMAGING TO CULTURAL HERITAGE Edited by Lindsay MacDonald ELSEVIER Amsterdam Boston Heidelberg London New York Oxford Paris San Diego San Francisco Singapore Sydney Tokyo Butterworth-Heinemann is an imprint of Elsevier

2 CONTENTS PREFACE FOREWORD LIST OF CONTRIBUTORS PART 1 CHAPTER 1 CHAPTER 2 USERf REQUIREMENTS DIGITISING DOCUMENTS FOR PUBLIC ACCESS Neil: Smith (British Library, London) 1.1 The British Library 1.2 The Library's Digitisation Programme 1.3 Standards and Guidelines 1.4 Digitisation Methods 1.5 Case Study - Collect Britain 1.6 The Users 1.7 References 1.8 Further Reading DIGITISING RARE BOOKS AND MANUSCRIPTS CzeslawJan Grycz (Octavo, Oakland, USA) 2.1 Introduction 2.2 Surrogates 2.3 Challenges 2.4 Passionate Commitment 2.5 Faithfulness 2.6 Completeness 2.7 Authenticity 2.8 Archival File Repositories and Derivatives 2.9 Experimentation 2.10 Identification 2.11 'Consumer' Demands, 2.12 Strategies 2.13 The Future 2.14 Conclusion 2.15 References

3 Viii CONTENTS CHAPTER 3 CHAPTER 4 CHAPTER 5 CHAPTER 6 DIGITISATION PROGRAMMES IN THE V&A James Stevenson (V&A Museum, London) 3.1 Introduction 3.2 Photography of the V&A Collection 3.3 First Steps Towards Digitisation 3.4 Image Identification 3.5 Getting Started With Digitisation 3.6 Image Management 3.7 Imaging Applications 3.8 Future Plans 3.9 References DIGITAL ACCESS TO A PHOTOGRAPHIC COLLECTION Andrea de Polo and Sam Minelli (Alinari, Firenze, Italy) 4.1 Introduction 4.2 The Alinari Photo Archive 4.3 Architecture of the Database System 4.4 Cataloguing: Populating the Database 4.5 Search Engine Modes 4.6 Software System 4.7 XL-Image Software 4.8 Image Compression 4.9 Conclusions 4.10 References 4.11 Web References DIGITISATION IN THE COMMERCIAL ART WORLD Anthony Hamber (Independent Consultant, London) 5.1 Introduction 5.2 Stakeholders and User Requirements 5.3 Process Flow 5.4 Digital Camera Selection 5.5 Modifying Existing Workflows 5.6 Colour Image Processing 5.7 Workflow from Photography to Print 5.8 Developments over the Past Decade 5.9 Conclusion 5.10 References : USER REQUIREMENTS FOR METRIC SURVEY Paul Bryan (English Heritage, York) 6.1 Introduction 6.2 Non-Image-Based Survey Techniques 6.3 Image-Based Survey Techniques 6.4 3D Laser Scanning

4 CON! 6.5 Comparison of Techniques 6.6 Summary 6.7 Acknowledgements 6.8 References 6.9 Web links 6.10 Glossary PART 2 TECHNOLOGY CHAPTER 7 PRINCIPLES AND EVOLUTION OF DIGITAL CAMERAS Peter Rudolf (Jenoptik, Jena, Germany) 7.1 Introduction 7.2 Components of a Digital Camera 7.3 History of Digital Cameras 7.4 Film Camera versus Digital Camera 7.5 Image Processing 7.6 Conclusion 7.7 References CHAPTER 8 HIGH RESOLUTION IMAGING IN THE NEAR INFRARED Duilio Bertani and Luca Consolandi (INO, Firenze, Italy) 8.1 Introduction 8.2 Infrared Reflectography of Ancient Paintings 8.3 Developments with CCD Technology 8.4 Infrared Examination of Papyri 8.5 Conclusion 8.6 Acknowledgements 8.7 References CHAPTER 9 IMAGE RESIZING - THE LIMITS OF IMAGE PROCESSING Alfredo Giani (University of Padova, Italy) 9.1 Introduction 9.2 The Continuous Image Model 9.3 The Discrete Cosine Transform 9.4 Image Spectra and Aliasing 9.5 Image Resizing, 9.6 The Fourier Transform of the Continuous Image 9.7 Conclusion 9.8 Bibliography CHAPTER 10 IMAGE DATABASES ANDACCESS Mike Stapleton (System Simulation Limited, London) 10.1 Image Databases 10.2 How Images are Stored and Retrieved 10.3 Searching 10.4 Delivery of Images

5 x CONTENTS 10.5 Metadata Standards 10.6 An Image Database in Practice 10.7 Image Database Architecture 10.8 The Image Database API 10.9 References CHAPTER 11 COLOUR MANAGEMENT IN HERITAGE PHOTOGRAPHY Phil Green (London College of Communication) 11.1 Introduction 11.2 Colorimetry and Colour Vision 11.3 Colour Appearance 11.4 Colour Measurement 11.5 Goals of Colour Encoding and Reproduction 11.6 Properties of Coloured Media 11.7 Characterisation 11.8 Colour Management Using ICC Profiles 11.9 Using Profiles in a Colour Reproduction Workflow Colour Management Issues for Heritage Photography Conclusions References CHAPTER 12 IMAGE COMPRESSION AND JPEG2000 Thomas Zellman (AlgoVision LuraTech, Berlin, Germany) 12.1 Introduction 12.2 Image Compression Steps 12.3 Advantages of JPEG Document Compression 12.5 Market Acceptance and Products 12.6 Application at Alinari Photographic Archive 12.7 Application at the German Resistance Memorial Centre 12.8 References CHAPTER 13 ASSESSING IMAGE QUALITY Lindsay MacDonald (London College of Communication) and Ralph Jacobson (University of Westminster, London) 13.1 Introduction Quality in Image Reproduction 13.3 Image Quality Assessment 13.4 Dimensions of Image Quality 13.5 Image Quality Metrics", 13.6 References 13.7 Bibliography

6 CONT fi APPLICATIONS CHAPTER 14 IMAGING HISTORICAL ARCHITECTURAL SITES FOR CONSERVATION Nick Beckett (English Heritage), Barbara Schick (BLfD) and Keith Findlater (Colour & Imaging Institute, Derby) 14.1 Introduction 14.2 Photographic Techniques 14.3 Object Characteristics 14.4 Photographic Equipment 14.5 Setting the Scene 14.6 The VITRA Project 14.7 Site Testing 14.8 Summary 14.9 Acknowledgements References Graphics Registered Trademarks CHAPTER 15 IMAGING OF STAINED GLASS WINDOWS Lindsay MacDonald (London College of Communication), Keith Findlater, Richard Tao Song, Alfredo Giani and Shanmugalingam Suganthan (Colour & Imaging Institute, Derby) 15.1 Introduction 15.2 Survey of Stained Glass Studios 15.3 Photography of Stained Glass 15.4 Camera Characterisation 15.5 Removing Shadows from Images of Stained Glass 15.6 Image Segmentation 15.7 Feature Extraction 15.8 Image Mosaicing 15.9 Conclusions References CHAPTER 16 MAKING ONLINE MONUMENTS MORE ACCESSIBLE THROUGH INTERFACE DESIGN Cristiano Bianchi (University College London) * 16.1 Introduction to Interface Design 16.2 Digital Cultural Heritage 16.3 Audiences 16.4 The Experience of Digital Cultural Heritage 16.5 Access to Digital Cultural Heritage 16.6 Technology 16.7 Review of European Funded Projects in the Field of Digital Heritage 16.8 Conclusions 16.9 References

7 xii CONTENTS CHAPTER 17 CHAPTER 18 CHAPTER 19 CHAPTER 20 VISUALISATION OF PANORAMIC IMAGES OVER THE INTERNET Francesco Aru, Pietro Zanuttigh and Guido M. Cortelazzo (University of Padova, Italy) 17.1 Introduction 17.2 The Geometry of Panoramic Images 17.3 Rendering Panoramic Images as 3D Objects 17.4 Progressive Compression of Zoomable Panoramic Images 17.5 Conclusions 17.6 Acknowledgements 17.7 Bibliography 3D VIRTUAL RESTORATION OF POLYCHROME SCULPTURE Angela Geary (Camberwell College of Art, London) 18.1 Introduction D Digitisation 18.3 Creating the 3D Model 18.4 Simulating Surfaces in 3D 18.5 Visualising Polychrome Sculpture 18.6 St. Christopher 18.7 The Dormition 18.8 References DIGITAL IMAGING FOR EASEL PAINTINGS David Saunders, John Cupitt and Joseph Padfield (National Gallery, London) 19.1 Introduction 19.2 Imaging for Technical Examination 19.3 Imaging for Publication and Conservation Documentation 19.4 Acknowledgements 19.5 References RESEARCH POLICY AND DIRECTIONS Tom Evans (Wavecrest Systems, London) 20.1 Introduction 20.2 Background to Research Policy for Digital Culture and Heritage 20.3 Case Study: The Introduction of Digital Imaging and Multimedia to a Museum 20.4 Attitudes and Uses: Implications for Research 20.5 The Future of Digital Heritage Research: The State-of-the-Art and Scenario Building 20.6 Picture Credits 20.7 References INDEX