This article will look at preliminary work adapting for-print 2D data for online 3D presentation and reflect on questions of how, when, and where these technologies can be used, and how such technologies intersect with the needs, aims, and ethos of the Chicago House approach.
Epigraphic drawing to document the ceiling of the bark shrine on behalf of the Epigraphic Survey were begun in the Spring of 2019. The ceiling would be documented using the Chicago House method and all digital technology, including the photography and initial “pencil” drawings on site.
With the rise of photogrammetry in digital epigraphy, so has the ability to produce quality, to-scale photographs without expensive field equipment. Although lighting is, has been, and always will be, a major factor in the quality of said photographs.
In the 2018-19 season at the Epigraphic Survey we began to seriously experiment with the idea of creating 3D photogrammetric models for the blocks of the Western High Gate at Medinet Habu Temple.
Wadi el-Hudi is an extensive mining site in the desert about 35 km southeast of Aswan where, in ancient times, Egyptians mined precious stones and minerals, including amethyst, galena and gold.
A recent exhibition in the Antikenmuseum Basel recreates two of the most beautiful rooms, the Hall of Beauties and the adjacent Pillared Room in Seti I’s magnificent tomb in the Valley of the Kings.
The background for the digitally updated drawing sample was created photogrammetrically using three different datasets: a series of photos taken for a virtual tour of the Qar & Idu Mastabas by Luke Hollis; a more recent set taken to provide the level of detail required for drawing the facade at a scale of 1-4@300ppi by Marleen De Meyer; as well as a set of five 6.5”x8.5” archival glass plate negatives taken by Mohammedani Ibrahim between 1925-1940.
The background photo for LD 177 was created using the photogrammetric software Agisoft Photoscan and a Mamiya RZ67 Pro IID and 50mm Mamiya-Sekor Z f/4.5 lens, mounted with a Hasselblad CFV-50c digital back. The scene was lit using a Profoto studio strobe.
