In addition to documentary photography, which is the basic and most widely used method of digitising collections, other techniques were used to create digital images of some objects. 3D models of sculptures, installations and furniture were made on the basis of data collected by two methods – structured light scanning and photogrammetry. The models – as opposed to the objects on exhibition – can be seen from all sides. You can also change their lighting, look inside, and sometimes make the surface disappear and analyse only their shape.
RTI (Reflectance Transformation Imaging) is a technique in which flat objects are recorded in changing lighting. Thanks to this, when using the website, you can observe them by moving the points of light with the mouse, keyboard or by touching (on mobile devices with touch screens). The change in lighting causes flat, clearly textured objects to reveal their secrets – the smallest details that cannot be noticed in ordinary lighting conditions. The function is very useful e.g. for conservators, but it will probably also be appreciated by people who just want to examine every detail of a work of art.
GIS (Geographical Information System) websites are a combination of maps and databases – an advanced and powerful tool providing information about various objects in space, e.g. archaeological sites, interiors and facades of buildings, trees, or historical maps with modern equivalents superimposed on them. An inconspicuous, but certainly interesting function of GIS is the ability to measure the length or area of a given element. This means that sitting in the comfort of your own home, you can learn, for example, the real dimensions of a room in the Wilanów Palace, from which you may be hundreds of kilometres away!
Gigapixel photography produces photographs of two-dimensional objects, which consists of many high-resolution photographs combined into one large image. As website users, you will not see these connections, but you will undoubtedly appreciate the feeling of immersion in the picture watched. Such an experience is often impossible in a museum exhibition. For preventive and conservation reasons, visitors are not allowed to get too close to exhibits, and even if there were, the human eye is not able to register so many small details.
Digital documentation was made with attention to every little detail. Not the smallest speck of dust could appear on the image recorded on the lens matrix, and the colours correspond to the real colours of the object as much as possible. This means high discipline and standardisation of tasks in digitisation workshops. All this to objectively and as accurately as possible digitally reflect the extraordinary museum collections – our common heritage.