3D Documentation of Heritage Artefacts: Introduction to Photogrammetry – Training Course


3D Documentation of Heritage Artefacts: Introduction to Photogrammetry – Training Course 

Delivered by Marta Pilarska (@M_Pilarska), 3D Digitisation Project Manager at the Scottish Maritime Museum (@Scotmaritime) 

Date: 18 March 2020, 10.30 am – 4:30 pm 

Venue: Scottish Maritime Museum, Linthouse Building, Harbour Rd, Irvine KA12 8BT 

£ 50.00 regular tickets 

£ 40.00 Icon members 

£ 25.00 students 

Photogrammetry is a photography-based 3D imaging technique for documenting a variety of objects. From archaeological finds and intricately carved stonework to works of art or large-scale collections. 

By combining the data from many images of the object, photogrammetry produces a digital 3D model of the object. 

The training day will introduce course participants to methods of 3D digital documentation of historic objects, encouraging them to explore 3D documentation techniques. The session will cover basic data capture procedures and processing workflows enabling delivery of digital 3D models. The course will aim to create an understanding of the requirements, capabilities, and limitations of the technology. 

The Photogrammetry training course will show the possibilities of 3D documentation for a range of objects and materials. We will discuss what types of materials lend themselves well to photogrammetry and which present more challenges. 

Attendees are encouraged to bring their cameras/mobile phones and laptops with the photogrammetry software pre-installed. The installation instructions along with download packages can be found on the software manufacturer’s website: https://www.capturingreality.com/RealityCapture-PPI. 

During the session, we will be able to capture one dataset in a studio setup, however, attendees will also be encouraged to capture their datasets while in the museum. This will allow everyone to work with a unique set of images and will enable the creation of a broader understanding of technical requirements and workflows. 

The course is aimed at museum and heritage professionals and conservators, but everyone interested in photogrammetry is welcome. 

Marta Pilarska is an objects conservator and digital heritage specialist. Her professional interests focus on exploring how digital technologies combined with conservation science can aid heritage preservation. 

See link below for tickets:


Icon19 Highlights in Edinburgh: Provisional Programme Announced

We are pleased to announce that the provisional programme for our upcoming event in Edinburgh

Icon Scotland Group: Icon Conference Highlights

is now finalised with all speakers confirmed!
Please find the information below:

Icon Scotland Group: Icon Conference Highlights
City Arts Centre
Friday 20 March, 9.20-16.45

This is a one day conference organised by the Icon Scotland Group, featuring 12 of the talks that were given at the Icon 2019 conference in Belfast. There will be plenty of time for questions and discussion, plus opportunities for networking and socialising. Please contact Isobel Griffin (igriffin@nationalgalleries.org) if you have questions about this event. Tickets cost from £20-£40 and are available here.


Conservation In Action: Saving the Perth Mummy at Perth Museum and Art Gallery


Perth Museum and Art Gallery is due to undergo a transformation in the next couple of years with the development of the old City Hall into the new Perth Museum and the remodelling the present building into a dedicated Art Gallery.

This major project will allow much greater access to the city’s diverse collections, of which only 0.05 % is exhibited presently. In preparation for the move and for potential display, a project to conserve part of the collection is underway.


In an effort to engage and immerse the public in this work as much as possible, conservation officer Anna Zwagerman has curated the ‘Conservation in Action’ exhibition. The aim is to give a comprehensive overview of some of the material and ethical issues faced by conservators in caring for museum collections. Specimens with various forms of degradation are shown relating to natural ageing, pest infestation as well as problems associated with historic conservation treatments. The catastrophic flood of 1993 is referenced and the results of benign neglect of collections are also visible in the rather macabre specimen jars thirsty for fluid.

However, the central element of the exhibition is the opportunity for visitors to witness conservators at work on one of the treasures of the collection, the Perth Mummy Ta-Kr-Hb.

IMG_3389A temporary, glazed conservation studio forms the centre of the exhibition.

Inside visitors will be able to see conservators either undertaking certain aspects of the conservation of the mummy, the treatment of social history objects [such as the cleaning of a silver cloche presently on show] or volunteers working on the digitisation of the collections. When unoccupied, a film highlighting the work on the mummy will be shown on a screen at the back of the studio.

Will Murray of the Scottish Conservation Studio has been contracted to carry out the stabilisation of the mummy and sarcophagus with the expert guidance of Helena and Richard Jaeschke, who will spend three days with Will studying the mummy and forming a plan of action. Having undertaken a thorough investigation and with the information provided by a scan at Manchester Children’s Hospital, Will has an understanding of the condition of the human remains within the bituminous wrappings. However, the focus of this project is to stabilise the outer linens, to improve the stability and support of the mummy and to treat damages to the sarcophagus.

Whilst much of this process will be observable by the public, the highly sensitive nature of conserving human remains and the necessity for privacy to enable serious concentration dictates that certain procedures will be carried out in private. The ethical considerations regarding this treatment are paramount.

Make a trip to Perth Museum and Art Gallery to learn more about this fascinating project…on display until 19th April 2020.

Saving Ta-Kr-Hb; Conserving Perth’s Mummy

Perth Museum and Art Gallery need to raise £7,395 to conserve Perth’s much-loved Egyptian Mummy, Ta-Kr-Hb, so her story can be shared with visitors at the new City Hall Museum. Please see link below to contribute to this wonderful cause.



A Game-Changing 2 days in Stirling

Historic Environment Scotland: Monuments in Monuments 2019
Monday2 September  – Wednesday 4 September 2019 Engine Shed, Stirling

Meredith Macbeth – Conference Review

Autumn has absolutely flown by and the Monuments in Monuments 2019 Conference seems like a distant memory, but for me, the impact certainly lives on. MiM 2019 took place over three days in early September 2019. The speakers ranged from the technical to the theoretical. There were case studies and papers on policy, and a big focus on climate change and its effects on the historic environment. To catch up with friends old and new and to find out what lies in the heart of stone conservation today, all from the hub of the buzzing Engine Shed in Stirling made the experience more than beneficial. Attendees were able to explore notable sites in the Central belt which really gave the opportunity to tap into the work that is being done in Scotland. Delegates were able to choose from  Fossil Grove, Glasgow Cathedral or  Glasgow Necropolis on the first day. On the third day, delegates were able to choose between Dunblane Cathedral/Leighton Library, British Geological Survey or the South Gyle Conservation Centre. With such interesting options, it was hard to choose! And while I was unable to attend it, the ceilidh at Stirling Castle appeared to be a massive hit with more than a few bleary eyes and heads the next morning!

Monuments in Monuments 2019: the beginning of the conference.

I am fortunate enough to have a “dream position” job with Orkney Islands Council working at the extraordinary St. Magnus Cathedral – where I am the sole Stone Mason/Conservator. The job has its challenges but being able to exist within the red and white sandstone walls of St. Magnus is an absolute privilege. My tasks are quite varied from taking lime samples and helping to plan our next 10 years of work, through to changing lightbulbs and clearing drains. Every day is different and with big works on the horizon, every month and year will be different. Sourcing local stone continues to be a tough issue and working within a Council budget and bureaucracy also continues to be an opportunity for a challenge, although slightly less fun than taking samples from closed quarries.

I was given the opportunity to attend MiM 2019 and represent ICON Scotland as a representative on the Group’s “Trade Stand”. I was absolutely delighted to represent ICON Scotland and had many interesting chats with fellow members and interested parties while answering queries on the stand.

Meredith Macbeth representing ICON Scotland on the Group’s “Trade Stand”.

I found myself thinking “What a fast two years it has been since I attended the opening of the Engine Shed!”. I am always so pleased to step over the threshold as I know I will be greeted by a group of cheery folks passionate about the historic environment. Arriving at MiM 2019 was no different and more exciting as an international conference, we had the opportunity to ‘show off’ the Engine Shed and the impressive works undertaken by Historic Environment Scotland (HES).

I’ve been working in conservation since 2008 and I was really struck at this conference to see the radical improvement and accessibility of technology since then. It was exciting to see technology being assimilated and used well, primarily for documentation and interpretation. It was brilliant to see and certainly encouraged me to “up my game”. The use of drones (Brian Johnston, Queen’s University) for example, time-lapse cameras, (Sarah Hamilton, HES) thermal imaging (Kinley Laidlaw) and not to mention all the 3D recording. Exciting times! Inspired by this conference, I have recently employed Orkney Sky Cam to survey our East Window, internally and externally. Having such a set of high-resolution photos and videos is so useful for planning and worth their weight in high-level gold!

I found it incredibly heartening to see the community that came together at MiM 2019 with conservation as a common interest. There were speakers from all over the world including Ethiopia, New Mexico, Switzerland, Isle of Man, Washington D.C. and Italy all sharing their cultures, work and concerns, absolutely wonderful to see new sites and ponder new challenges. Blen Gemeda’s (Oxford University) talk on medieval rock-hewn churches in Ethiopia was visually stunning and an interesting challenge. The ongoing preservation of the inscriptions at El Morro National Monument by Angelyn Bass and Katharine Williams (University of New Mexico) was intriguing, not only the history of the inscriptions themselves but the history of the conservation of the inscriptions themselves.

Another unique question which was discussed at this event was the footprint of the Conservator. Should viewers and historians be aware of conservators’ interventions within the history of the object?  It was even asked- should a conservator always intervene? This was such an alluring topic, as so many treatments of the past have been done in good faith but certainly to the determent of the object or site itself; Portland Cement has kept a good many stone conservator in employment. Paul Wooles intriguingly discussed the merit of ferrous fixings, asking if  Conservators are too quick to remove them. Yes, I thought, they can be hazardous to stonework but at the same time, they are fabulous tell-tales for moisture movement and often part of the history of the object. Ending the conference was David Harkin from HES, speaking about ‘Cultural Heritage and Climate Change’. I have seen David speak before and he is always a delight, albeit his subject matter less cheery and optimistic. He manages to explain how climate breakdown impacts our everyday lives, but also how it will impact our historic building stock. This can be useful to raise the awareness of a modern conservator. Those treatments that worked in the past may not work now – due to our changing climate.

Although I have many colleagues, I am a one-man-band when it comes to the conservation and stone care at St. Magnus Cathedral. Conservation, in general, can involve quite a bit of solo work, so for me coming together with fellow professionals for a few days in September was much needed.  I have mentioned a few examples that really inspired me, but so many other little snippets have stuck with me – Christine Bläuer’s keynote advice on how to translate the meaning of your results to the stakeholders has helped me in my work. Christa Gerdwilker’s advice to take a holistic view and be able to question your approach has helped me too. A keynote tip from Sara Croft – that we should champion our profession and the skills, knowledge and judgment that we all bring to our own jobs was massively inspirational. Also Sara’s advice about setting out on the Accreditation process – don’t hold back there, get involved.

It was a wonderful few days and I would like to thank Christa Gerdwilker and her team for pulling together such an inspirational event.

Meredith Macbeth is the Stone Mason/Conservator at St. Magnus Cathedral, Kirkwall, Orkney. You can contact her at meredith.macbeth@orkney.gov.uk or on her sleepy twitter account @MeMacbeth.
Many thanks again to Christa Gerdwilker, ICON Scotland, Orkney Islands Council and the Friends of St. Magnus Cathedral for making this opportunity possible.