Museum Collections & Contemporary Art Documentation
For museums, collectors, conservators, galleries and artists
1. Documenting Museum and Historical Artifacts
A photograph of a historical artifact is not only there to introduce it. Before a loan to another museum, during a condition assessment, in an insurance file and at every stage of conservation, the state of the artifact has to be recorded precisely enough to be compared against later. If the artifact is damaged and the receiving institution and the owner disagree about its condition before transit, there is practically no way to settle it without an accurate image.
Specialist fine-art insurers need condition reports and precise, dependable images to assess and settle a claim, not attractive photographs. A conservator without the visual record of earlier stages does not know what has already been done to the object and cannot defend their own decisions. And a museum without an organized archive starts from zero every time it presents its collection to an outside body, in a catalog or in a funding request.
A professional image archive turns an artifact from a single file into a traceable visual record, one that serves research, scholarly catalogs, insurance, loans, conservation and the presentation of the collection at home and abroad.
Color accuracy. Recorded color must match the artifact's true color in a measurable way. The deviation is measured with the ΔE metric (usually ΔE2000), and archival guidelines such as FADGI and Metamorfoze set defined limits for each quality level. We treat the camera, the light, the monitor and the processing as a single chain: capture against a standard color target, a calibrated monitor and a 16-bit master file, not just color correction by eye in post-production.
Lighting matched to the artifact and the purpose. Even light for color and form; raking light for the cracks and surface relief that vanish under direct light; and cross-polarized light to remove surface and varnish glare, so you see the true color rather than the reflection. In research projects, ultraviolet fluorescence reveals old restorations and changes in the surface layer. The type of light and the exposure dose are always set according to the artifact's sensitivity and the scientific goal of the project, in consultation with the conservator.
Archival file and metadata. The master file is kept as an uncompressed TIFF (preferably 16-bit) together with the object ID, capture date and lighting conditions. Metadata is structured to map onto common cultural heritage frameworks such as Dublin Core and CIDOC-CRM, so the files can still be identified and used years later without relying on the photographer's memory.
Precise Documentation of Valuable Historical Artifacts and Comparative Pre- and Post-Conservation Study
Condition reports, pre-transit recording, comparison of conservation stages Before conservation or transit, each artifact is recorded under fixed light, angle and calibration, then recorded again under exactly the same conditions after conservation. Every change, from color and cracks to the surface layer, becomes comparable and defensible, for the conservator, the insurer and the museum alike. Sample ProjectPrecise Documentation of Historical Artifacts for Scholarly and Research Catalogs
Full view, details, front and back, texture and distinctive features For scholarly publication, an image has to convey the artifact's information, not just its appearance: full view, details, front and back, texture and distinctive features, with controlled color and composition. The result is ready for catalogs, books, articles, websites and exhibitions, and no re-shoot is needed whenever an image is required. Sample Project3D Modeling of Historical Artifacts and Objects for Scientific Research
Three-dimensional objects, ceramics and metalwork, sculpture, inscribed works A two-dimensional image cannot show the whole form of a three-dimensional object. With photogrammetry and newer 3D capture methods, chosen to suit the material and size of the artifact, we produce a rotatable digital version that, with a scale reference and proper calibration, can also be measured, without anyone touching the object. For research, teaching and the digital archive. Sample ProjectConservation Documentation and Monitoring of Surface Changes Over Time
Condition monitoring, periodic recording, early detection of deterioration Gradual deterioration, such as paint flaking, metal corrosion or spreading cracks, is sometimes not detectable by eye. Periodic recording under fixed light and geometry makes precise comparison over time possible and shows change before it becomes serious damage. Sample ProjectVirtual Museum Tour and Online Visits to Galleries, Display Cases and Artifacts with Interactive Commentary
Exhibition halls, display cases, selected artifacts with text and audio It brings your museum to someone who cannot come: a researcher, a student, a tourist or a foreign institution. They move through the halls, look at an artifact up close and read its interactive commentary. For the website, international partnerships and educational programs. Sample ProjectDocumentary Video Production of Museum Artifacts and Conservation Process
Introduction of the artifact and collection, historical narrative, conversations with specialists, recording of conservation stages Video shows what a photograph cannot: the story of the artifact, the stages of conservation and protective techniques in the real flow of work, and conversations with specialists. Lighting and camera work are matched to the artifact's sensitivity. For exhibitions, the website, education and the institution's archive. Sample ProjectRecord the artifact’s condition before it moves, before conservation starts and before the insurance file closes. After that, there is no second chance. Contact us to start your project.
2. Documenting Contemporary Art and Gallery Works
For a juror, gallerist, collector or open-call organizer, your image is the first encounter with the work, and sometimes the only one. Before anyone sees the original in a gallery or studio, they have to be able to understand it correctly from the picture. A weak image means the work has not been seen, even if the work itself is strong.
In painting, the smallest error in color, light or reflection changes how the work looks. In sculpture and installation, a photograph from a single angle loses volume, scale and the work's relationship with its space, and the work goes flat. For galleries that sell online the issue is even more direct: no one buys a work they have not seen properly.
Professional photography is therefore part of presenting the work professionally. It is more than a handful of pictures for a website and social media.
Reflection control. The varnished surface of a painting and the glass of a display case are among the main challenges of this kind of photography. The solution lies in the light, not in editing: large, diffused light sources, precise angles between light and camera and, where needed, cross-polarized light with a filter on the lens, so surface glare drops and the color and texture of the work become legible.
Color gamut. The saturated colors of some works exceed the sRGB gamut. We process files in a wider color space (such as Adobe RGB or ProPhoto RGB) at 16-bit depth, and for each output, whether web, screen or print, we apply the matching color profile.
Multi-angle capture. In works with texture, engraving or relief, the brushwork, the weave of the canvas and the depth of the lines are captured only with directional light and the right angle, and cannot be reconstructed later in software.
Building a Professional Visual Portfolio of Contemporary Artists' Work
Body of work, full view, details, ready for open calls and galleries A consistent collection of your works, with a full view and the necessary details of each piece, ready for your website, portfolio, international open calls, residencies, galleries and presentations to collectors. When a juror goes through a large number of portfolios in a row, consistency and precision of the images are the first thing that stands out. Sample ProjectCreating 3D Models of Three-Dimensional Artworks
Sculpture, installations, three-dimensional and mixed-media works A photograph flattens a three-dimensional work. A 3D model keeps its form, volume and space and lets the viewer see it from every angle. Depending on the project's goal, it is prepared for online sales, a virtual exhibition, a digital archive or an interactive presentation. Sample ProjectBuilding Virtual Exhibitions of Artworks
Exhibition space, arrangement of works, interactive visit Your exhibition can continue beyond its opening days and reach people who could not attend. The exhibition space, the position of each work and the relationships between works are captured in an interactive experience in which the visitor moves with a real sense of scale. Sample ProjectArtistic and Documentary Video Production of Artworks and Artists
Artist portrait, creative process, exhibition, opening and narrative of the work Video places the work beside the artist, the studio and the process of its making, and builds a deeper narrative of the artistic project. For the website, open calls, professional networks, exhibitions, introducing the artist and the personal archive. Sample ProjectSelected Projects
Start a Project
Every project has its own visual language. Send us your initial details, and our Creative Director will review them and propose a suitable approach and timeline.