Having created our 3D models in PhotoScan, we were able to export the OBJ and STL files. Using these, we were able to send the STL files to the library and have our 3D models printed out using a 3D printer. It was very satisfying to see our hard work pay off by having the 3D models available for our presentation and was a nice conclusion to our hard work. Continue reading Group Assignment Part 4: Finishing the Project & Final Thoughts (AFF-622)
Technology 3: Photogrammetry
As mentioned in my first blog in this series, we decided as a group that the best way to accurately capture and record the three figurines was to use the method of Photogrammetry. Photogrammetry is a means by which we can make measurements from photographs and recover the exact positioning of surface points on an object. Using photogrammetry, we were able to create photorealistic 3D models of each of the figurines using Agisoft Photoscan. Similar to the RTI method outlined in my last post, there are two stages to creating each of the models; capturing and post-capture processing. For the team, although this was undoubtedly the most laborious method of recording, the results were impressive. Continue reading Group Assignment Part 3: The Figurines (AFF-622)
This post is a continuation on a project outlined in my last post, which you can read about here.
Technology 1: RTI Capturing & Processing
The first recording method that we decided to use was Reflection Transmission Imaging (RTI) on the Greek coin, the papyrus, and the abstract painting. The set-up process for capture was relatively easy, with the Canon EOS camera being kept in a fixed position on a tripod directly facing the floor perpendicular to the object. The camera was connected to a laptop with the correct software installed that allowed us to use live capture of images. Continue reading Group Assignment Part 2: Recording the Coin, Painting, and Papyrus (AFF-622)
As part of our coursework for AFF-622, my colleagues Aveen Holland, John Chambers and I were tasked with a group project that required, in its brief, the “digitisation, analysis and publication of the artefacts recovered after the arrest of [a] man…”. We were given six objects that we had to make digital recordings of based on the skills we had gained throughout the module so far regarding the technologies covered in class. The artefacts that required recording were as follows; Continue reading Group Assignment Part 1: Planning the Project (AFF-622)
In a previous post discussing the Letters of 1916 Project, I broadly considered the means by which that project, a public history project, garnered its database of letters and transcriptions: crowdsourcing. The topic itself appears to be a many-faceted one; does it, as a practice, promote a sense of community? Is this communal sense of preservation more important than the scholarly preservation that happens as a consequence of the former? Is crowdsourcing, in essence, purely a means to a scholarly end; an exploitation of the public by academics? This blog post will explore and argue these questions with the aim of creating a better understanding of crowdsourcing as a practice in public history projects.
Within the Digital Humanities, cultural preservation undoubtedly is one of the focal points of the field. When a piece of history is digitised or recorded and presented to a larger community, it takes on a new role. It becomes a part of a public consciousness in how it is preserved and presented. Continue reading A Commentary on the Letters of 1916 Project (AFF-606B)
The Aesthetics of Stylisation
This blog entry is the second in a series of posts dealing with the Power of the Image, more specifically on the use of non-realistic rendering in Digital Heritage. In my last post I dealt with the concept of photorealism in Digital Heritage; specifically how we approach and interpret this idea and apply it to digital methodologies, whatever they may be. It stands to reason then that the opposite end of the spectrum should be explored.
This blog post will serve as the first in a series of entries dissecting various elements of visual representation in the field of Digital Heritage. Before approaching the theme of this post, photorealism, I would like to briefly take a wider look at Digital Heritage itself with the view of putting photorealism in the field into context.