Past Forward

Activating The Henry Ford Archive of Innovation

Posts Tagged by jillian ferraiuolo

While we have a photo studio where we do most of our artifact photography using white backgrounds and strictly controlled lighting, many times we encounter things that are too big for this setting—for example, a car! In those cases, we need to take ourselves and our studio on the move, and our newest collections storage building, the Main Storage Building (MSB), gives us a perfect environment for that. While sometimes space can be an issue (there are only so many places you can store dozens of wagons and plows), we make the most of the room we have and get creative in the meantime.

For example, to photograph “The Busy World” automaton wagon, it first needed to be moved out of a row of wagons and into an open space to give us room to set up our lights and camera.

Yellow wagon with glass windows revealing scenes on side
“The Busy World” automaton wagon in storage in MSB before photography. / Photo courtesy Jillian Ferraiuolo

Yellow wagon with glass windows on side, behind which are small dioramas
The completed photograph of the automaton. / THF187282

Since the Unimate robot was featured in an episode of The Henry Ford’s Innovation Nation, we needed to capture new photographs of it for our Digital Collections before the episode aired. While we had a little more room to work when photographing the Unimate (this was before MSB was as full as it is today), we still benefitted from having the ability to set up all around it because it is extremely heavy and cannot be easily moved. We had to use the space around it to access both sides for our standard photography.

Large, squat robot  with swing arm in the middle of a  large space; photo on tripod and tethered laptop computer on table in the foreground
Photographing the Unimate. / Photo courtesy Jillian Ferraiuolo

Large, squat beige robot with a swing arm and text "UNIMATION, INC." on side
Completed photo of the Unimate robot. / THF172780

It was a similar situation when we photographed the 1977 Ford Mustang II. Though now this area in MSB houses an array of agricultural equipment, such as plows and wagons, in 2018 we were able to use the open area to photograph the Mustang II for the first time so it could be viewed online.

Black car surrounded by other vehicles in warehouse space; lights and camera on tripod pointed at it
Photographing the Mustang II. / Photo courtesy Jillian Ferraiuolo

Black car
Completed photo of the Mustang II. / THF173560

This next example shows a more current look at MSB in 2021. As you might be able to see, there are many more vehicles now occupying the large area where we shot the Unimate and Mustang II. So when we were tasked with the job of photographing a 1925 Yellow Cab, we were unable to circle around it and had to work with our collections management team to move the taxi for us as we documented it.

A yellow car sits in a cramped space among other vehicles in front of a white background, with carts of photo equipment, a camera on a tripod, and lights on stands in the foreground
Photographing the 1925 Yellow Cab taxicab. / Photo courtesy Jillian Ferraiuolo

You can also see that we created our own white background around the cab with tall foamcore boards (a little thing that helps immensely with post-processing in Photoshop). But our “studio” was surrounded by another car to the right and a wagon to the left! All this careful maneuvering and setup was necessary to get the final image.

Yellow and black car with text "Yellow Cab Co." on side
Final photograph of the 1925 Yellow Cab Taxicab. / THF188014

Looking at the completed image, you probably would never know what it looked like when we were photographing it out on the floor in MSB!

My final example, the Ford COVID-19 mobile testing van, was so tall that it almost reached the ceiling in the tallest room in MSB. Since it’s a full-sized van, it isn’t easy to move—especially inside a building. In case that isn’t enough, its current neighbors in storage happen to be a couple of large fire engines. Regardless, we got creative again and we were able to get photos of the van despite these challenges.

Man works at photographic equipment among several vehicles in a large room
Photographing the Ford COVID-19 mobile testing van. / Photo courtesy Jillian Ferraiuolo

Tall red van with text and large waving American flag on side
Completed photo of the COVID-19 mobile testing van. / THF188109

Besides being an invaluable space to store an extensive variety of precious artifacts from our collections, MSB also serves as a functional space for us to use as photographers—so we can digitize artifacts even if they’re larger than we can accommodate in our photo studio.


Jillian Ferraiuolo is Digital Imaging Specialist at The Henry Ford.

Main Storage Building, photography, photographs, digitization, collections care, by Jillian Ferraiuolo, #Behind The Scenes @ The Henry Ford

These days, most people may not be familiar with the interior of a rail car, let alone set foot inside one that is 100 years old. For those of you who have never been inside a railcar, it is very tight quarters—both for people and also for photography equipment and lights. So, when photographer Rudy Ruzicska and myself were tasked with getting new images of the interior of the 1921 Fair Lane, Henry Ford’s private railroad car (now located in the Railroads exhibit in Henry Ford Museum of American Innovation), we knew we were going to have to get creative—and close!

Man standing on back platform of railcar in large room, with camera and light in foreground
Photographer Rudy Ruzicska setting up lights for our first exterior shot of the railcar…

Back platform of rail car in large room
…and the final shot. / THF186261

We knew that this was going to be a challenge, but a fun one. The largest rooms were at the front and the back of the car, with narrow hallways and small bedrooms between—and even smaller bathrooms! We captured as many angles as we could within such small spaces.

Interior space with coved ceiling, containing a man bending over a light, with other lights and a camera on a tripod in the space
Rudy again, setting up lights for our first interior shot of the lounge….

Interior space with blue upholstered furniture and wood paneling
…one of the resulting shots…. / THF186262

Interior space with blue upholstered furniture and wood paneling
…and another final shot. / THF186264

Back view of woman at camera on tripod pointing toward a narrow interior hallway
Digital Imaging Specialist Jillian Ferraiuolo (me!) setting up the shot of the hallway…

Narrow wood-paneled hallway with arched ceiling
…and the final image. / THF186265

Woman stands in tight corner of wood-paneled room behind a camera on a tripod
Jillian again, setting up the shot of the office…

Interior of wood-paneled room containing a wooden desk
…and the final image. / THF186266

For most photos, we use a Canon 5D Mark III camera tethered to a MacBook laptop. While we did use that camera for this photo shoot, we knew we would need something with a wider range to capture the small rooms. A fisheye lens is very convex, and because of that shape it allows the camera to capture a larger area. While these lenses are great, their downside is the distortion they create because of the curve of the glass. Since our job in the Photo Studio is, at the core, documentation, we want to show our artifacts exactly as they are, without that distortion, so to capture these small rooms we needed something more.

Our solution was to use another tool already in our toolbox, the Ricoh Theta 360 camera. This small camera is operated via cellphone and app and uses two fisheye lenses to capture a space. The app control allows us to preview the 360-degree image and remotely trigger the camera (so we can make sure we’re out of the shot). The app then stitches together the images to create a full 360-degree interactive image. This is how we were able to capture the interiors of the rooms completely, including the nooks and crannies of these small spaces where our Canon camera simply couldn’t reach.

Small camera on a tripod in a room in front of striped upholstered seating
The Theta camera, mounted on a stand, ready to capture the interior of the lounge. See the 360-degree image (and the others we took) here!

We captured all of the rooms (and bathrooms!) this way, with the Theta, as well as with the Canon camera, to make sure everything was thoroughly documented. Though this certainly led us into a few tight spaces….

Woman wearing mask behind camera on tripod in a stainless steel room containing a toilet
Man stands with hand next to knob in a stainless steel restroom containing a sink
Jillian and Rudy doing their best to capture the very small main bathroom and shower off the Fair Lane’s main hallway…

Small, stainless steel restroom containing a toilet, sink, and mirror
Stainless steel shower area with sink outside
…and the final images of the bathroom. / THF186274, THF186275

As photographers of the wide variety of artifacts at The Henry Ford, our job is certainly never boring, but when faced with unique requests like the Fair Lane, we get to have a little more fun than usual and really test the limits of our creativity and ingenuity.

I hope you enjoyed this behind-the-scenes look at how we photographed Henry Ford’s private railcar. Be sure to check out some of the new images on the artifact card below, or click through to our Digital Collections to explore all of the images and 360-degree interiors! And read more about the Fair Lane, its travels, and its history in celebration of its 100th birthday this year.

Continue Reading

digitization, digital collections, railroads, Henry Ford Museum, photographs, by Jillian Ferraiuolo, Fair Lane railcar, #Behind The Scenes @ The Henry Ford, photography

My name is Jillian Ferraiuolo and I’m a Digital Imaging Specialist at The Henry Ford. In that role, I work with our institutional photographer in our Photo Studio, taking photographs of artifacts and preparing those for use in our Digital Collections.

Graphic with text
This graphic shows where photography fits into The Henry Ford's overall digitization process.

Every once in a while, our job requires us to step out of the studio, equipment and all, and photograph artifacts on location. Whether it’s taking photos of cars in one of our storage buildings or taking photos in (or of!) one of the buildings in Greenfield Village, if it can’t fit inside the studio, then we pack up and go to it. For example, the geodesic truss pictured below is in storage, but we needed to photograph it. You can see from the photo below how large it is, so instead of trying to find some way to get it to the Photo Studio in the museum, we went to it.

Camera on tripod in foreground pointing toward white paper with metal truss in front of it alongside a large red brick building
Photography staff and volunteers shooting the geodesic truss on location at a storage building.

Trapezoidal structure made of metal bars
The finished product: Geodesic Dome Test Module, Designed by R. Buckminster Fuller, 1953. / THF166740

One of the biggest challenges for us when we shoot outside the studio is making the most of our time. Given how large our campus is, we try to be as efficient as possible while still creating the same shooting environment on location as we would in the studio, especially when it comes to lighting and image quality. Another challenge of location shoots is that they allow less freedom than being in the studio—some objects are in a specific spot and can’t be moved or adjusted. When we’re in the studio we can change angles, move lights, and make adjustments easily, but if we’re out photographing a train car, and need to capture a different view, we have to move around it—there’s no way it’s moving!

Two people behind a camera on a tripod in a brick-walled room
Another example of getting creative to photograph a lathe used by Henry Ford out at the Bagley Avenue Workshop in Greenfield Village.

While shooting out on location can be a challenge, it is also a nice change of pace and a nice change of scenery. It forces us to think outside the box and get creative with taking photos—especially when the shoot involves something outside the norm. Take, for example, quilts—since they’re so large, we have to get up much higher than they are so we can get an accurate photo of the entire quilt. (You can read more about our quilt photography process here.)

Person with camera on landing at top of staircase, looking down over railing toward a large tilted board with a textile on it
Getting ready to photograph quilts from the Highland Park Engine catwalk in Henry Ford Museum of American Innovation.

But whether we’re in the studio or not, we’re passionate about what we do, and we are ready to take on any challenge!

Continue Reading

by Jillian Ferraiuolo, #Behind The Scenes @ The Henry Ford, #digitization100K, digitization, photography

Photographing Glass

November 20, 2020 Think THF

My name is Jillian Ferraiuolo and I’m a Digital Imaging Specialist at The Henry Ford. In that role, I work with our institutional photographer in our Photo Studio, taking photographs of artifacts and preparing those for use in our Digital Collections. Today I’m going to share a bit about the challenges of photographing glass artifacts.

Graphic with text
This graphic shows where photography fits into The Henry Ford's overall digitization process.

If you haven’t had a chance to check out our extensive studio and art glass collection (whether in person in the Museum or Village glass galleries, or online), I recommend you do so! We have pieces that range from teapots and cups to whimsical studio glass sculptures. Photographing these beautiful pieces of glass provides unique challenges.

The first task is to figure out the angles to shoot. Many of these are works of art, so figuring out the “front” and the “back” is difficult. Take the piece below, "Bubble Boy" by Richard Marquis, for example. It’s hard to tell what the best angle would be, so we take our best guess, and take more than one photo if we need to! Most of the time, we’ll look for a defining feature: say, a handle, or an area of the design that is most appealing, and start there.

Multicolored artwork with a base topped by three progressively narrower spheres/ovals with a protruding loop on each side, with a teapot-shaped crown on top
Multicolored artwork with a base topped by three progressively narrower spheres/ovals with a protruding loop on each side, with a teapot-shaped crown on top
Two views of “Bubble Boy” by Richard Marquis, 1988 / THF164207, THF164208

Often, the curator notes that one of these pieces is either historically significant or is important because of the artist that created it. In these cases, we take another step to capture more and create a rotating 360-degree image. We do this by (carefully!) placing the glass on a platform, rotating it by 20 degrees at a time, and taking 18 total photographs. This way we get a full picture of the piece from every possible angle! Take a look at an example below, or check out all the glass 360-degree views in our Digital Collections.

GIF of rotating glass artwork, red cuplike shapes on bottom and top, blue abstract shape in middle
Untitled from Relationship Series by Richard Royal, 1997 / 360-degree view

Another tricky part of photographing glass is dealing with its reflective qualities. As glass is usually shiny, creating an environment in the studio where we can control reflections can be tricky and time-consuming. Usually we create a fully white space around the object—if we don’t, every light and tripod and piece of furniture will be reflected on the object’s surface. We accomplish this very creatively with large boards or cloth, or if the object is small enough, we can put it into a tent that will allow us to fully control the space and light around it.

Photo studio with cart with laptop, many lights on stands, area blocked off with white paper
Aerial shot of space blocked off with white boards and paper; blue spittoon inside space; photography equipment outside
Examples of the Photo Studio set up to photograph a glass spittoon.

Then once we have everything set up, we take the photos, clean up the backgrounds with the magic of Photoshop, and enter the images and their metadata into our collections database—then voila, you get to see the finished photos in our Digital Collections!

Blue glass spittoon with vase- or urn-like shape
Spittoon, circa 1873 / THF168196

All that effort for a beautiful photo… of a spittoon.

Continue Reading

art, decorative arts, glass, digitization, #digitization100K, by Jillian Ferraiuolo, photography

Graphic with text
This graphic shows where photography fits into The Henry Ford's overall digitization process.

My name is Jillian Ferraiuolo and I’m a Digital Imaging Specialist at The Henry Ford. In that role, I work with our institutional photographer in our Photo Studio, taking photographs of artifacts and preparing those for use in our Digital Collections. As you might imagine, I get to work with many fascinating artifacts, and I’m going to share a couple of my favorites with you here.

Woman in foreground looks through camera as a second woman holds up part of a dress skirt
Conservator Fran Faile holds up a detail on the Cognitive Dress as I photograph it.

I think the most interesting artifact I’ve photographed is the “Cognitive Dress,” Designed by IBM and Marchesa, 2016. Besides being a beautiful gown, it is strung with lights throughout the skirt that change color based off technology developed by IBM using their Watson AI. Because of the innovative nature of this dress, and our partnership with IBM, it was important that we thoroughly document it.

Three people around a computer on a cart, with photography equipment and a woman adjusting a dress on a dress form in the background
The dress in the studio getting ready for its close-up with curator Kristen Gallerneaux and conservators Fran Faile and Cuong Nguyen assisting.

Normally we capture five standard angles when we photograph clothing, but this one was a special case because we had to account for the lights on the dress, and the changing colors. In total, we took 27 images of the dress, showing different angles, the shifting colored lights on the dress, and details of the skirt and lighting technology.

Dress on dress form with glowing blue lights integrated into bodice and skirt
THF167960

Back view of dress on dress form with glowing blue lights integrated into bodice and skirt
THF167966

Dress bodice on dress form with integrated glowing white-blue lights
THF167976

I enjoyed photographing this dress not only because it was a beautiful gown, but also because it was a challenge. To get the right exposure with the lights while keeping the dress lit up was tough, but that’s also where the handiness of Photoshop comes in. I was able to adjust after the fact and create a very nice finished product!

GIF running through various views and details of a dress on a dress form
Here’s a quick look at some of the shots we got!

Another fun project we had was imaging the Jens Jensen landscape drawings that show the plans for the grounds of Henry and Clara Ford’s estate, Fair Lane. These drawings were so interesting to look through—they lay out the gardens and surrounding areas of the estate in such detail, they’re works of art. Who would’ve thought that an estate would have so many blueprints? There are 29 in total, varying from gardens to orchards and even to plans for a bird pool.

Blueprint showing somewhat abstracted indications of trees, lawn, house
Landscape Architecture Drawing for Fair Lane, "A Planting Plan for section around service buildings," June 1920 / THF155896

Blueprint showing aerial view
Jens Jensen Landscape Architecture Drawing, "A General Plan of the Estate of Mr. Henry Ford, Dearborn, Michigan," 1915 / THF155910

One of the reasons why we had to photograph these prints in the Studio is because they are large, folded up into individual leather portfolios. Usually anything two-dimensional goes through our scanning or flat photography process in our Archives, but the nature of these prints did not allow for that. To get a good image of them they had to be unfolded, then carefully flattened with a large piece of glass while being imaged. The trickiest part is to make sure the print lays as flat as possible while ensuring there isn’t any glare off the glass from the lights in the studio.

At a glance, I’m sure you’d never guess that that’s how they were photographed!

GIF cycling through a number of blueprints
Here is a look at all the prints and the box they’re stored in.

What interesting artifact will we be photographing next? Peek through the Photo Studio’s glass doors at the back of Henry Ford Museum of American Innovation on your next visit and find out!

Continue Reading

drawings, fashion, by Jillian Ferraiuolo, photography, digitization, #digitization100K, #Behind The Scenes @ The Henry Ford

Have you ever wondered how we photograph quilts at The Henry Ford? While the answer is probably no, you might be surprised to find out that it is quite a process. Most quilts are quite large, ranging from 7ft x 4ft to even 9ft x 5ft. With that being said, our photo studio in the museum only has a ceiling that is 10ft tall, but to get an accurate picture of the quilt we would need the camera to be pointing at the quilt at a 90-degree angle. How do we accomplish that in a room that’s only 10 ft tall? We find higher ground!

quiltphoto1
Since our studio is on the back wall of the museum, we need to be somewhere elevated, but relatively nearby so we aren’t hauling our equipment all over the place. So, the Highland Park Engine is our answer. We mount the camera on the top railing of the stairs closest to the entrance to Conservation.


quiltphoto2

quiltphoto3

Then, with the help of 2-3 people, we lay the quilts on a large 10 x 10 wooden board that has a layer of muslin cloth on it (to protect the quilts and stop them from sliding down the board), We hoist the quilt board up onto stands to hold it in place at about a 60-degree angle which allows us to angle the camera to shoot straight at the quilt, giving us the correct perspective as if it were lying flat.

quiltphoto4

Here are a few examples of the finished images that go online on our Digital Collections website.

quiltphoto5

quiltphoto6

Looking at them, you wouldn’t think that they were photographed any other way than lying down, right? That’s the magic of photography - with a little bit of resourcefulness and ingenuity added in.

You can view all the quilts from our collection that we’ve photographed on our Digital Collections here.

Jillian Ferraiuolo is Digital Imaging Specialist at The Henry Ford.

collections care, photography, quilts, #Behind The Scenes @ The Henry Ford, digitization, by Jillian Ferraiuolo