ABSTRACT:It is the intention of this paper, to contribute to a sustainable future by providing objective object information based on 3D photography as well as promoting 3D photography not only for scientists, but also for amateurs. Due to the presentation of this article by CIPA Task Group 3 on "3D Photographs in Cultural Heritage", the presented samples are masterpieces of historic as well as of current 3D photography concentrating on cultural heritage. In addition to a report on exemplarily access to international archives of 3D photographs, samples for new 3D photographs taken with modern 3D cameras, as well as by means of a ground based high resolution XLITE staff camera and also 3D photographs taken from a captive balloon and the use of civil drone platforms are dealt with. To advise on optimum suited 3D methodology, as well as to catch new trends in 3D, an updated synoptic overview of the 3D visualization technology, even claiming completeness, has been carried out as a result of a systematic survey. In this respect, e.g., today's lasered crystals might be "early bird" products in 3D, which, due to lack in resolution, contrast and color, remember to the stage of the invention of photography.

ABSTRACT:This contribution promotes 3D photography as an important tool to obtain objective object information. Keeping mainly in mind World Heritage documentation as well as Heritage protection, it is another intention of this paper, to stimulate the interest in applications of 3D photography for professionals as well as for amateurs. In addition this is also an activity report of the international CIPA task group 3. The main part of this paper starts with "Digging the treasure of existing international 3D photography". This does not only belong to tangible but also to intangible Cultural Heritage. 3D photography clearly supports the recording, the visualization, the preservation and the restoration of architectural and archaeological objects. Therefore the use of 3D photography in C.H. should increase on an international level. The presented samples in 3D represent a voluminous, almost partly "forgotten treasure" of international archives for 3D photography. The next chapter is on "Promoting new 3D photography in Cultural Heritage". Though 3D photographs are a well-established basic photographic and photogrammetric tool, even suited to provide "near real" documentation, they are still a matter of research and improvement. Beside the use of 3D cameras even single lenses cameras are very much suited for photographic 3D documentation purposes in Cultural Heritage. Currently at the Faculty of Civil Engineering of the University of Applied Sciences Magdeburg-Stendal, low altitude aerial photography is exposed from a maximum height of 13m, using a hand hold carbon telescope rod. The use of this "huge selfie stick" is also an (international) recommendation, to expose high resolution 3D photography of monuments under expedition conditions. In addition to the carbon rod recently a captive balloon and a hexacopter UAV-platform is in use, mainly to take better synoptically (extremely low altitude, ground truth) aerial photography. Additional experiments with respect to "easy geometry" and to multistage concepts of 3D photographs in Cultural Heritage just started. Furthermore a revised list of the 3D visualization principles, claiming completeness, has been carried out. Beside others in an outlook *It is highly recommended, to list every historical and current stereo view with relevance to Cultural Heritage in a global Monument Information System (MIS), like in google earth. *3D photographs seem to be very suited, to complete and/or at least partly to replace manual archaeological sketches. In this concern the still underestimated 3D effect will be demonstrated, which even allows, e.g., the spatial perception of extremely small scratches etc... *A consequent dealing with 3D Technology even seems to indicate, currently we experience the beginning of a new age of "real 3D-PC-screens", which at least could add or even partly replace the conventional 2D screens. Here the spatial visualization is verified without glasses in an all-around vitreous body. In this respect nowadays widespread lasered crystals showing monuments are ...

ABSTRACT:This paper on providing "oo-information" (= objective object-information) on cultural monuments and sites, based on 3D photographs is also a contribution of CIPA task group 3 to the 2013 CIPA Symposium in Strasbourg. To stimulate the interest in 3D photography for scientists as well as for amateurs, 3D-Masterpieces are presented. Exemplary it is shown, due to their high documentary value ("near reality"), 3D photography support, e.g. the recording, the visualization, the interpretation, the preservation and the restoration of architectural and archaeological objects. This also includes samples for excavation documentation, 3D coordinate calculation, 3D photographs applied for virtual museum purposes and as educational tools. In addition 3D photography is used for virtual museum purposes, as well as an educational tool and for spatial structure enhancement, which in particular holds for inscriptions and in rock arts. This paper is also an invitation to participate in a systematic survey on existing international archives of 3D photographs. In this respect it is also reported on first results, to define an optimum digitization rate for analog stereo views. It is more than overdue, in addition to the access to international archives for 3D photography, the available 3D photography data should appear in a global GIS(cloud)-system, like on, e.g., google earth. This contribution also deals with exposing new 3D photographs to document monuments of importance for Cultural Heritage, including the use of 3D and single lense cameras from a 10m telescope staff, to be used for extremely low earth based airborne 3D photography, as well as for "underwater staff photography". In addition it is reported on the use of captive balloon and drone platforms for 3D photography in Cultural Heritage. It is liked to emphasize, the still underestimated 3D effect on real objects even allows, e.g., the spatial perception of extremely small scratches as well as of nuances in color differences. Though 3D photographs are a well established basic photographic and photogrammetric tool, they are still a matter of research and practical improvement: -For example, multistage concepts for 3D heritage photographs, e.g., combining before and aft images and images showing different focus, daytime etc., as well as combining 3D imagery of different sensors and comparing 3D imagery with drawings etc. and even standards for exposing and processing 3D heritage photographs are only some topics for recent research. -To advise on state-of-the-art 3D visualisation methodology for Cultural heritage purposes an updated synoptically overview, even claiming completeness, also will be dealt with. -3D photographs increasingly should replace old fashioned subjective interpreted manual 2D drawings (in 2D only) of heritage monuments.-Currently we are witnesses of early developments, showing Cultural Heritage objects in 3D crystal as well as in 3D printings.