0.5 Approaches to distribution of fee-free images: case studies  (Page 2/13)

Outfitting each of twelve photographers with a digital studio requires a capital expenditure of $150,000–$165,000, butmuseum staff members are convinced about the return on investment. Using a film camera formerly took up to four days to photograph a three-dimensional object.Today, using a digital camera, the same work can be shot in less than oneday. Photography of a three-dimensional object is, in itself, an art form. First, a schedule is established for moving the object tothe studio. Working with curatorial staff, a photographer plans what views, artist signatures, and maker marks should be documented. Next, lightingdecisions are made with a critical eye to highlighting contours and details of each view of the object. In a pre-digital time, instant-developing Polaroid filmwas used for initial capture, and frequently that temporary photograph was delivered to the curator for comment. The official photography began afteradjustments of angle and lighting were made. Each view was captured at three different light settings and shutter speeds through a process called bracketing.These films were sent out for overnight developing, during which time the object could not be moved from the studio. The morning delivery from UPS was muchanticipated by the photographer so the previous day’s work could be evaluated and the final photography begun. Most orders, internal or external, request onlyone photographic format, but the labor involved in moving the object to the studio and creating the set-up dictated the common practice of fully documentingthe object with three film formats: color transparency, black-and-white negative, and 35mm slide. Each format required a different camera. Each view ofthe object required these same steps. As a result, one three-dimensional object could take up to four days to photograph. In the digital environment, after theview and lighting are decided, the photographer captures the shot with one digital camera. That image can be downloaded to a computer screen for viewing,then reviewed immediately with curatorial staff. Derivatives of that image in different resolutions or in black-and-white can all be created during a post-production process. With the advent of digital imaging, multiple views of a three-dimensional sculpture can be captured and approved in two to three hoursrather than four days. In addition, the burden of labeling and housing fragile color transparencies, black-and-white negatives, and slides iseliminated.

Increased photographic documentation of the collection

It is not uncommon for less than 20 percent of any museum collection to be photographed, although museum professionals agreethat object photography is a critical means of documenting and publishing the collection. The photographers at the Metropolitan Museum are now producing sixto ten photographs of three-dimensional objects per day and an even greater number of photographs of two-dimensional works. This dramatic rise in efficiencyhelps balance the cost of digital equipment and results in increased photographic documentation of the museum’s treasures.