The Workshop 2015 for Protection of Cultural Heritagein Thimphu, Kingdom of Bhutan
26-31 October 2015

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Agency for Cultural Affairs, Japan

The Workshop 2015 for Protection of Cultural Heritagein Thimphu, Kingdom of Bhutan
26-31 October 2015

Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
Agency for Cultural Affairs, Japan

Edited and Published by
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
757 Horen-cho, Nara 630-8113 Japan
Tel: +81 (0)742 20 5001
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e-mail: nara@accu.or.jp
URL: http://www.nara.accu.or.jp
Printed by MeishinshaⒸ Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU) 2016

Preface
The Cultural Heritage Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO(ACCU) was established in August 1999 with the purpose of serving as a domestic centre forpromoting cooperation in cultural heritage protection in the Asia-Pacific region. Subsequent to its
inception, our office has been implementing a variety of programmes to help promote cultural heritage
protection activities, maintaining partnerships with international organisations, such as UNESCO
and the International Centre for the Study of the Preservation and Restoration of Cultural Property(ICCROM).
Among our training programmes conducted in Nara, there is first of all our Group Training Course, towhich we invite 16 specialists from 16 nations for one month of training on two themes, “Preservation
and Restoration of Wooden Structures” and “Research, Analysis and Preservation of ArchaeologicalSites and Remains,” held in alternate years. Because the participants come from 16 different nations,the lectures and other aspects are conducted in English. In addition to the 11 participants from
Bhutan in the Group Training Course sessions held from 2000 to the present, there were another threeparticipants in our Individual Training Course conducted in 2014, for a total of 14 participants from
Bhutan who have participated in our training.
Also conducted in Nara is the just mentioned Individual Training Course, on themes selected by theparticipants, such as wooden structures, archaeology, conservation science, or museology and so forth,with the curriculum tailored individually in hand-made fashion. From 2015, we have changed the titleof this Individual Training to “Specific Theme Training Course”, and are developing it as a month-longprogramme of training concentrating on particular themes. We annually invite participants from two or
three countries, with about two participants per nation, for one month of training.
A third type of training programme is called a “Workshop”. These are held not in Nara but inthe participants’ countries overseas. Beginning with Cambodia in 2007, we have conducted thisprogramme in eight countries thus far. In Vietnam, Indonesia, and Sri Lanka the theme was ‘Recording/documentation and research methods for wooden structures’, while in the other nations the content was
related to ‘documentation and preservation method for archaeological artefacts’.
The purpose of the workshop in Thimphu is to introduce photographic technology. With the recent
spread of inexpensive and easy to use cameras, anyone can now take a digital photo by just pressing
the shutter. But photographs related to cultural properties are for the purpose of recording historicalmaterials, and have the role preserving the data for the future. Accordingly, they require the properquality, accuracy, and level of information content.

The Workshop 2015 for Protection of Cultural Heritage in Thimphu, Kingdom of Bhutan, was theninth attempt of ACCU Nara Office. We were fortunate enough to receive the cooperation and support
from Department of Culture, Ministry of Home and Cultural Affairs, as a co-organiser. I would liketo extend my sincere gratitude to Dasho Jigme Zangpo, National Speaker, Lyonpo Dawa Gyeltshen,
Minister of Home and Cultural Affairs of Bhutan, Mr Rinzin Penjore, Director of Department ofCulture, Ms Nagtsho Dorji, Head, Division for Conservation of Heritage Sites(DCHS), Ms Phuntsho
Wangmo from DCHS; and to all related staff and parties for their cooperation. Also, special thanks to
Ms Asakuma Yumiko, Chief Representative, Japan International Cooperation Agency(JICA) Bhutan
Office who provided useful information on Bhutan and gave the suggestion on our activity.
Lastly, I would like to express my appreciation to Nara National Research Institute for Cultural
Properties for their cooperation in dispatching an official to our workshop. I am also thankful to the
Agency for Cultural Affairs, Japan (Bunkacho) for their continuing support.

NISHIMURA Yasushi
Director
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)Contents
PrefaceI.

Introduction
1. General Information… ……………………………………   3
2. Programme Schedule… ……………………………………   5

II.

Workshop Journal… ……………………………………   7

III.

Reports by Participants… ……………………………… 33

IV.

Appendix
1. Participants… ……………………………………………

57

2. Instructors…………………………………………………

58

3. Interpreter…………………………………………………

58

4. Assistants… ………………………………………………

59

5. Organisers…………………………………………………

59

6. Staff Members, ACCU Nara Office… ………………………

60

I. Introduction

Paro Dzong and Ta Dzong

1. General Information
The Workshop 2015 for Protection of Cultural Heritagein Thimphu, Kingdom of Bhutan
1. OrganisersThis course is jointly organised by the Agency for Cultural Affairs, Japan (Bunkacho); the Asia-Pacific
Cultural Centre for UNESCO (ACCU); and the Department of Culture, Ministry of Home and Cultural
Affairs, Royal Government of Bhutan.

2. Background
The Kingdom of Bhutan is located in South Asia and Buddhism is the state religion. The Kingdom of
Bhutan is known for modernising while still protecting and passing on its unique traditional culture.
Bhutanese law requires the country’s traditions to be respected. For example, it is mandatory to offer
education in traditional subjects and to wear national dress on formal occasions, and the traditionalarchitectural style must be observed in the construction and restoration of buildings.
However, it has been pointed out that the tangible and intangible cultural heritage through which these
traditions are passed on is at risk of alteration or rapid deterioration due to modernisation or natural
disasters. In particular, there is a need to take prompt countermeasures to conserve structures including
vernacular houses and temples, and documents such as sutra. In addition, the accumulation ofexpertise and funds in the Kingdom of Bhutan to respond to this situation are insufficient. Tasks suchas acquisition of knowledge and practical techniques for documentation and conservation of cultural
heritage and development of human resources are being addressed as urgent priorities.
In consideration of this situation, as well as in response to a request from the Department of Culture,
Ministry of Home and Cultural Affairs of the Royal Government of Bhutan, the Cultural Heritage
Protection Cooperation Office, Asia-Pacific Cultural Centre for UNESCO has decided to co-organise
a workshop in Thimphu, Kingdom of Bhutan on photographic documentation of cultural heritage anddigital data management and utilisation, as part of its cooperation for cultural heritage protection in the
Asia-Pacific region.

3. Location
Thimphu, Kingdom of Bhutan

4. Dates
22 October (Thu.) to 2 November (Mon.) 2015 (including preparation and transfer)3

5. Theme
Photographic documentation of cultural heritage and management/utilisation of digital data

6. Curriculum
Lecture・Introduction to the photographic documentation of cultural properties
・Basics of photography
Practical Training
・Photography (traditional structures, archaeological artefacts, Buddhist objects, etc.)
・Management and utilisation of digital data

7. Participants
Twenty researchers who are involved in investigation, research and preservation of cultural properties
in Bhutan, and who belong to a research institute, the Management and Preservation Office forCultural Properties, or a museum.

8. Language
The main working language of the training course is English, with consecutive interpretation fromJapanese.

42. Programme Schedule
Date
10

26

Morning (9:30–12:30)
Mon. ・Opening Ceremony (10:00–11:00)
・Orientation for the Workshop(11:30–12:30)

Afternoon (13:30–16:30)
Lecture:・Basic Knowledge of Photography(13:30–15:00)
・Introduction to the Photographic
Documentation of Cultural Properties(15:15–16:30)(Instructors: Mr NAKAMURA Ichiro and
Mr SUGIMOTO Kazuki)(Group A)
Documentation of Traditional Structures(Instructor: Mr SUGIMOTO Kazuki)
27

Tue. ・Lecture: Introduction to Photographic
Techniques for Traditional Structures(Group B)
Documentation of Movable Cultural Properties(Instructor: Mr NAKAMURA Ichiro)・Lecture: Introduction to Photographic Techniques for
Movable Cultural Properties

・Practical Training: Photographic Techniques for ・Practical Training: Photographic Techniques for
Traditional Structures I
Movable Cultural Properties I
28

Wed.

Practical Training: Photographic Techniques for
Traditional Structures II

Practical Training: Photographic Techniques for
Movable Cultural Properties II

29

Thu.

Practical Training: Photographic Techniques
for Traditional Structures III

Practical Training: Photographic Techniquesfor Movable Cultural Properties III

30

Fri. ・Practical Training: Digital Data Management and Utilisation(Instructor: Mr NAKAMURA Ichiro)
・Closing Reception (19:00-)

31

Sat. ・Evaluation from Instructors (9:30–)(Instructors: Mr NAKAMURA Ichiro and Mr SUGIMOTO Kazuki)
・Closing Ceremony (12:00–)

5

II. Workshop Journal

Thimphu City

21 October (Wed.)
The ACCU Nara Office’s staff members, two instructors and an interpreter departed from the KansaiInternational Airport to Bhutan via Bangkok.
22 October (Thur.)
Left Bangkok in the early morning. Arrived at the Paro International Airport, Bhutan, via Guwahati,
India. Then, made a visit to several cultural heritages in Paro including the National Museum.
23 October (Fri.)
Travelled from Paro to Thimphu in the morning. After arriving at Thimphu, conferred with the
Bhutanese counterpart about implementation of training programmes.

■ Meeting with Department of Culture
Conferred with Ms Phuntsho Wangmo, Department of Culture, about the details regarding holding
workshops such as the final check of the participants in the opening ceremony, etc., confirmation ofnecessities for training programmes in response to the change in the training venue, and the final checkof training tools/equipment.

Department of Archaeology

24 October (Sat.)In the morning, conferred with Ms Phuntsho Wangmo and Mr Tenzin Wangchuk, the officials of
Department of Culture, regarding the opening ceremony, as well as the setting up of the training venueof the lecture on the first day. In the afternoon, visited Simtokha Dzong (“Dzong” literally means“castle-monastery”), where the practical training for Group A was to be carried out. After that, theDirector of ACCU Nara Office greeted the representative of the monastery, and checked the training
venue with Ms Phuntsho.

9Simtokha Dzong

25 October (Sun.)
Conferred with a manager of the Hotel Druk, the reception venue, regarding the details of the reception
including the layout, expression/display, supper menu, audio equipment, etc.
26 October (Mon)■ MoU signing ceremony
Prior to the opening ceremony, Mr Rinzin Penjore, Director of Department of Culture, and MrNISHIMURA Yasushi, the Director of ACCU Nara Office signed the MoU for the workshops, in thepresence of the participants and the officials of Department of Culture.

10

■ Opening Ceremony
After the arrival of the guest of honour, Dasho Jigme Zangpo, the Speaker of the National Assembly,
the Opening Ceremony began with the “Marchang Ceremony”, a traditional Bhutanese rite.
Afterwards, Mr Rinzin Penjore, Director of Department of Culture, delivered a speech, followed by
the guest of honour, and Mr NISHIMURA Yasushi, the Director of the ACCU Nara Office.

Signing MoU between DoC and ACCU Nara Office

Marchang Ceremony

Mr Rinzin Penjore

Dasho Jigme Zangpo

Mr NISHIMURA Yasushi

11In his speech, Mr Rinzin Penjore expressed his gratitude to the ACCU and the Japanese government for
inviting many officials of Department of Culture to participate in the training programmes of the ACCU
projects in Nara, Japan, to date, and that they were able to learn a broad range of knowledge/information,
and are now contributing to cultural heritage protection projects all over Bhutan.

MC for Opening Ceremony,
Ms Phutsho Wangmo

Opening Ceremony venue: National Library

12

Dasho Jigme Zangpo, the guest of honour, also thanked the ACCU and the Japanese government
on behalf of the Kingdom of Bhutan for their continued cooperation and understanding by statingthat recording the cultural heritage via photography is highly significant in Bhutan where rapid
modernisation is underway, and it is the training most needed now equal in importance to thedevelopment of the Cultural Properties Protection Act.
Following this, Mr NISHIMURA Yasushi explained that this training programme is the first workshop
attempting to focus on “photography” among the ACCU projects for the Bhutanese participants todate, included in the address of thanks to the parties concerned, including Department of Culture of
Bhutan, for their cooperation. Lastly, a commemorative photo was taken outside the building of thevenue.
The opening ceremony was broadcast on a Bhutanese domestic TV station, and reported innewspapers.

■ Lecture: Basic Knowledge of Photography/Introduction to the Photographic Documentation ofCultural Properties
NAKAMURA Ichiro (Nara National Research Institute for Cultural Properties) and
SUGIMOTO Kazuki (Saidaiji Photo Studio)

A lecture by Mr NAKARURA

13

A lecture by Mr SUGIMOTOFirst, the instructors explained about the basic knowledge of photography including the mechanismof a camera, differences in information volume depending on film size, image distortion due to lens,lighting methods, and the relation between shutter speed and aperture. The participants then tried
to adjust the settings of the six new brand cameras that Department of Culture recently purchased,
listening to the explanations of the instructors.
27 October (Tue.)
During the next three days, participants were divided into two groups of 10 participants for thepractical training sessions. An instructor, Mr SUGIMOTO Kazuki took charge of Group A which
undertook practice at Simtokha Dzong under the theme of “Documentation of Traditional Structures”.
Meanwhile, Group B, under instruction of Mr NAKAMURA Ichiro, undertook practice under thetheme of “Documentation of Movable Cultural Properties” at the National Library.

■ Group A
In the morning, Group A listened to an indoor lecture explaining five important points for photography(e.g. resolution, distortion, depth of field, light, and colour), points related to photographing buildings(proper aperture, ISO, grey card, etc.), and types of photography data. In the afternoon, the participants
undertook photography practice using AV-priority mode, while confirming differences in the depth of14

field. Furthermore, the participants learned about photographing under eaves (practical photographing
method using a flash light) as well.
The queen dowager honoured the training site with her visit, thanking the instructor and encouraging
the participants.

The training venue for Group A, Simtokha Dzong

15

Training venue for Group B,
National Library■ Group B
At first, the participants listened to an outlined explanation about photography lighting corresponding
to the conditions of an object (including a demonstration), practiced assembling a simplified
photography lighting stand (using materials available in Bhutan). Then, the participants made pairs,
and practiced photographing the face of a partner alternatively by using such stands. Lastly, in
preparation for the following day’s practical training, the instructor demonstrated how to assemble a
simplified photography platform.
28 October (Wed.)■ Group A
In the morning, the participants attended a lecture about basic camera operations and an explanation of16

photography modes (AV, TV, and PR), etc. In the afternoon, at the inner sanctuary of Simtokha Dzong,the participants learned practical photography of mural paintings in dark places, including photographyusing lights, photography of uneven sculptures, and photography of the whole surface of a long anddeep wall. Since light installation spots are important for dark space photography, the participants
struggled to arrange the lights so that the object was evenly illuminated.

17

■ Group B
The second day of lectures began with learning how to assemble a simplified photography platform
depending on an object, as well as an explanation about practical photographing skills, followedby practical training regarding the process from lighting to photographing. A sutra printing block,a ground stone axe, and a small gilt bronze Buddhist statue were used as training materials. The
instructor provided additional explanations regarding the photographing of such objects being black or
glossy, which are quite difficult to photograph. The participants, then practiced the kind of photography
they had learned.

18

29 October (Thur.)■ Group A
To practice photographing an entire building, Group A climbed a hill from the top of which a full viewof Simtokha Dzong is visible across a river. They practiced photographing two types of target photos;(i) an entire building; and, (ii) the building with its geographical location, etc. After that, they moved
to Simtokha Dzong, and took portraits of each other by setting the proper aperture and shutter speeds.
Subsequently, the participants learned a method of photography using two portable flashlights to takephotos in dark spaces in which there are no power sources.

19

■ Group B
After reviewing the previous day’s practical training, the participants practiced disassembling thesimplified photography platform. They subsequently listened to an explanation about the assembly ofa lighting stand for large objects, and practiced using it. Then the participants practiced photographinglarge objects by using thanka (Buddhist scroll paintings) and the lighting stand above. Lastly, as thesummary of the practice of indoor photography, the participants reviewed the training points in a
textbook. In addition, as an extra lecture, the instructor explained about photographing moving objects(e.g. performance of masques).

20

30 October (Fri.)A classroom lecture was held at the National Library. To start, Mr Nakamura, the instructor lectured
about the handling and maintenance of photography equipment, especially how to remove dust
adhering to the sensor of a digital camera. Subsequently, reviewing the photos that the participants took
during their practical sessions, the instructor commented on each of them. After that, the instructor
explanation about methods for saving images as well as the structure and utilisation of a database.
Early in the evening, a closing reception was held at the Hotel Druk. The participants included
Lyonpo Dawa Gyeltshen, the Minister of Home and Cultural Affairs, Ms ASAKUMA Yumiko and Mr
TAKANO Sho, Chief Representative and Representative Deputy of the Bhutan Office of the Japan
International Cooperation Agency (JICA), and the managers of several divisions of the Bhutanese
Department of Culture.

21

31 October (Sat.)
Participants submitted their training reports.

■ Closing Ceremony
First, NISHIMURA Yasushi, the Director of the ACCU Nara Office, delivered an address wherein
he expressed his hopes that each participant will contribute to handing down the Bhutanese cultural
heritages to the following generations by using the knowledge and techniques that the participantsacquired, that through this training programme, that the cooperative relationship between the ACCU
and Bhutan would be further developed, and, lastly he thanked Ms Phuntsho Wangmo who “opened a
new door between the ACCU and Department of Culture of Bhutan, as a counterpart.
(1) Reviews by Instructors

SUGIMOTO Kazuki: Under the rapid progress of Bhutan, each and every of you are expected toprecisely record the Bhutanese cultures. I would be very much honoured and happy if this training
program could be helpful for such activities.
NAKAMURA Ichiro: The photographic record is one of, and the first step of, a range of recording

22

Mr PemaMs Dechen Cheki

Certificate of completion presented by Lyonpo Dawa Gyeltshen and Mr Nishimura

23

Ms Nagtsho Dorjimethods. I hope you will make as many records as you can, and keep them securely stored for along period of time as part of Bhutan’s records.
Awarding verified certificate by Lyonpo Dawa Gyeltshen, the Minister of Home and Cultural
Affairs, with the Director of the ACCU Nara Office(2) Address by representatives of the participants(Representative of Group A): Mr Pema, Division for Conservation of Heritage Sites
The knowledge I learned through the workshops was all new to me. Although I had only usedautomatic mode photography by just pressing the shutter button, I knew that this method of
expression had limitations. Accordingly, I learned exclusive photographing techniques. Photography
recording techniques of not only myself but also of the other participants will be able to progress
further. Lastly, as a representative of the participants, I would like to express our gratitude to the
ACCU for organising this training programme.
(Representative of Group B): Ms Dechen Cheki, Division for Cultural Properties
I had also only just pressed the shutter button when taking photos before; but, through this training
programme, I have acquired a range of information such as the effects of aperture and lights, as wellas ISO and shutter speed. Now I can press the shutter button based on this information. From now
on, I would like to create the best records possible by using the knowledge I have acquired. Further,
I really hope such training programmes will be organised again in the future.
(3) Address by Ms Nagtsho Dorji, Manager of the Division for the Conservation of Heritage Site

On behalf of Department of Culture, I would like to express my gratitude to everyone who supported

24the organisation of this training programme; especially to the Agency for Cultural Affairs and the
ACCU that sent instructors to us. This training programme was made possible by the continued
support and continual contact by the ACCU, Nara Office. I sincerely appreciate that the Japaneseorganisations concerned selected Bhutan as a training country. And, my fellow participants,
congratulations for your acquisition of a verified certificate. I hope you will use the techniques you
have learned sufficiently at your individual workplaces.
After taking a commemorative photo and bidding farewell to the people concerned, the ACCU staff
members left Thimphu. In the evening, they arrived at Paro.
1 November (Sun.)
In the morning, the ACCU team left its lodging facility to the Paro International Airport. Left Bhutan
on a flight in the morning, and arrived at Bangkok (transit airport) via Guwahati, India, in the lateevening. Subsequently, left Bangkok on a flight at midnight to the Kansai International Airport, Japan.
2 November (Mon.)
Arrived at the Kansai International Airport in the early morning.

Closing Ceremony

25

Group A

Group B26

Cheri Gompa

Clock Tower Square, Thimphu

Paro Dzong and Paro Airport

A Street in Paro

Tachogang Lhakhang

Buddhist monk at Cheri Gompa

A View of Cheri Gompa

A view of Thimphu

Tashichho Dzong

A view of Paro

Paro Airport

Paro and Paro Dzong

Tashichho Dzong in Thimphu

A bridge at Tachogang Lhakhang

Buddhist monks in Tashichho Dzong

III. Reports by Participants1. Sangay Kinga
Assistant Architect
Archaeology Section
Division for Conservation of Heritage Sites

In the present era, taking photos of items such as buildings, natural landscapes, people, celebrations
and other events, etc., using the latest low or high quality professional digital camera has become very
common and for many has turned into a serious hobby or profession. But to become a professional
photographer who documents cultural heritage properties is an immense challenge, to achieve the goalof preserving and recording requires proper skill and knowledge of photography.
Participating in this 2015 Workshop has been a great opportunity and has further developed myphotographic skills which will assist my office in the process of preserving and promoting our cultural
heritage. In this context, I would like to thank all personnel from ACCU, the officials and experts
from the Nara National Research Institute for Cultural Properties, and representatives of the Japanese
government for making this workshop possible.
The most enriching knowledge I gained through this training is an understanding of the right objective
and framework for taking photos of cultural heritage properties that should not lead to incorrect
information with a reduction of recorded information in the future. In addition, the workshop also
prompted me to be more vigilant during or before taking a picture, and to be aware of the ideal
position, distance, proper perspective, angle of the photographer in relation to the object, and also to
use the right kind of lens with the proper setting of the aperture and shutter speed, depending on thecamera mode that we prefer for taking the photo. Taking photos with the use of different techniquessuch as gray card under different light conditions, using inbuilt flash lighting and providing a strobe
light, has further developed my photographic skill and knowledge. Taking photos also requires asuitable depth of field, which totally depends on two factors, the lens and aperture value.
One very important principle that I learned in this workshop is to establish guidelines for thepreservation of cultural properties photography centering on digital records through the best methodof saving digital records and easy access in selecting the photographs for the services provider in theinstitution. The storing of digital data in the right location in a local optical disk, backup storage andonline storage are also important factors as is the preferable format, such as TIFF and JPEG that arecompliant with Exif data. The cleaning of the camera both outside and inside using the right tool kits
is another important factor for the photographer, particularly to eliminate dust or particles that havepenetrated inside the sensor, to avoid having spots on the pictures.

35

2. Nidup Tshering
Assistant Engineer
Wangdue Dzong Reconstruction Project
Division for Conservation of Heritage Sites

For a small country like Bhutan, the preservation and promotion of its unique culture and tradition play
an important role. All the developed policies of Bhutan are governed by the principles of GNH (Gross
National Happiness) and conservation of cultural heritage is recognized as one of the important pillarsof GNH. So my division, the Department of Culture (DoC), under the Ministry of Home and Cultural
Affairs (MoHCA), has been created as a separate body to enhance the cultural practices of Bhutan, andin this regard my work is the conservation and reconstruction, and new construction works of Dzong(fortresses), Lhakhangs (Temples), and scared places of Bhutan.
On this occasion, the Culture Heritage Protection Cooperation Office, Asia/Pacific Culture Centre for
UNESCO (ACCU), Japan, organized a week-long workshop in Bhutan (from 26th-31st October 2015),
on the theme of the Protection of Cultural Heritage in the Asia-Pacific Region 2015, with a focus on“Protection of Cultural Heritage through Photography.” So before this training on photography, weonly knew the basics of taking photos by just clicking on a button in an auto mode and we did not pay
attention to the quality of the photos (if the photo comes out good, we just say that the camera is goodand if not, we just say that the camera is no good), and we never cared about lighting either. Now,
after the weeklong training in photography, by learning both theory and through practical works, I
obtained considerable knowledge about photography, especially as to its importance for heritage sites,
for the documentation of both old and new structures. Before, we did not know the various functionsof different aspects of the camera, but know I have come to know that each and every part of thecamera has his own function, and that especially for heritage sites the important features are shutter
speed, aperture, and ISO, etc., which are more widely important in taking photographs. Now, after the
training, when I go back to my place of work at the construction site, I will implement this knowledge
at my site and teach it to friends and my younger colleagues.
Lastly, I would like to thank the Cultural Heritage Protection Cooperation Office, Asia-Pacific
Cultural Centre for UNESCO (ACCU), Japan, for bringing this program to Bhutan and giving us theopportunity to participate in this training. My heartfelt gratitude goes to the working team and wewill never forget what you all taught us, in your sincerely generous manner, so that our rich cultural
heritage will be protected through documentation by photography.

36

3. Yeshi Samdrup
Architect
Trashigang Dzong Conservation Project
Division for Conservation of Heritage Sites

When I first heard about “the Workshop 2015 for Protection of Cultural Heritage in Bhutan Photographic
Documentation of Cultural Heritage” organized by the Asia-Pacific Cultural Centre for UNESCO(ACCU), Nara, in collaboration with the Department of Culture, I was greatly looking forward toparticipating. And to my good fortune, I was given the privilege of being a participant in the workshop.
The importance of photography is universally understood and it is an important tool in the
documentation of heritage sites. However, prior to this workshop, photography was always a big
challenge for me. I always used “automatic mode” in the camera while documenting the important
heritage structures, irrespective of whether the camera was a simple or sophisticated one. I knew that
there were many options on the camera but was always deterred from using them as I was not trained
and unacquainted with the features.
This workshop walked me through the important and mandatory techniques for using the camera to get
the desired photographs. In addition to that, the lecturers of the workshop were from the backgroundof heritage site photography and thus took the lesson beyond the camera techniques and into the fieldof photography of heritage sites. To share an experience, the importance of lighting in photography
was an eye-opening lesson for me, since I had previously considered that bright sunlight was the best
condition for photography. Similarly, I learned about the suitable conditions for photography and how
photography does not stop with just using the camera, but also involves understanding the site and its
conditions and creating artificial input to make good photography.
The closing of the workshop is not an end to my pursuit of knowledge in photography. It is a beginningand I will persevere to improve my skills and enhance my knowledge to contribute to the proper
documentation of heritage sites in Bhutan. Now I am eager to go to the site and use the skills that I
have learned in this workshop. Thanks to the ACCU Nara Office.

37

4. Pema
Project Manager/Engineer
National Conservation Laboratory Construction Project
Division for Conservation of Heritage Sites

I am very happy to note that this year is very important for the people of Bhutan as we are celebrating
the 60th Birth Anniversary of our great fourth King His Majesty Jigme Singye Wangchuck. Having thisWorkshop for the Protection of Cultural Heritage 2015 organized in Bhutan in itself is a milestone forthe Department of Culture, a unique and significant contribution to the larger event. The workshop on
protecting cultural heritage through photographic documentation was a whole new learning experience
for this young conservation practitioner.
From the basics of photography to image processing, the subject coverage was well designed, keeping
in view the duration of the workshop. The six-day workshop has equipped me with theoreticalknowledge through the lecture sessions, in addition to the critical practical sessions. I was able toexplore the features available in the camera and had exposure to image processing software. For
example, taking photographs of cultural properties is a basic requirement in my profession for
preparing reports, documentation, and other related works. While taking photographs, I had been using
the auto and default settings with their respective limitations. But after attending the workshop, I am
confident that I will be able to carry out my responsibility more professionally.
The workshop, run by experienced instructors Mr Sugimoto and Mr Nakamura, was aimed atparticipants’ practical production requirements. The instructors’ and the organizers’ tirelessdemonstrations were very impressive, bringing a wealth of practical know-how to the workshop.
Moreover, this workshop has provided the platform for interaction amongst the ACCU and the Royal
Government of Bhutan and we take this as a stepping-stone for more future collaborations. After thisworkshop, we realized the vast difference between what can be achieved and what we are doing, andthere is more to do. I feel that the ACCU can make a big difference in filling the gap.
I would like to repeat that the six-day workshop was a fruitful and enriching experience. Given an
opportunity to participate in such workshops organized by the Cultural Heritage Protection Corporation
Office, Asia-Pacific Cultural Centre for UNESCO (ACCU), I will be happy to participate again wholeheartedly.

38

5. Dendup Tshewang
Engineer
Division for Conservation of Heritage Sites

Bhutan is facing many challenges in protecting and preserving its cultural heritage, which is of greatvalue. With time and modernization, many heritage properties face the danger of being destroyed ordamaged. The demands of the people are also changing, as they no longer want the age-old structuresthat our forefathers built, but rather want modern buildings with modern designs, thus threatening ourvaluable culture. Accordingly, photographic documentation is a vital tool for recording those data inplace of the cultural properties themselves for future reference.
The workshop on photographic documentation of cultural heritage sites organized by the ACCU Nara
Office in collaboration with the Department of Culture was very useful to us. The training showedme that taking a photograph is not just a click of a button but involves great skill and technique.
Settings on the camera are very important for obtaining good photographs that can be understood byany person. In order to use a DSLR camera, there are mainly five components that need to be takencare of, namely, aperture, shutter speed, ISO sensitivity, mode, and white balance. The timing of thephotography and the weather are important factors as well. If all of the above-mentioned settings areadjusted properly, then the photograph will contain all the essential information without any risk of
misinterpretation by the viewer.
We learned how to take photographs of still objects and moving objects, and the correct format
in which the photographs need to be saved. Although anyone who has basic knowledge aboutphotography can take a photograph, documentation photography is a great challenge. During ourlast session of the lecture, we were introduced to digital database management, which is a very goodsystem for maintaining and keeping records of our cultural heritage.
Though we had a bit of a language barrier, learning was very easy as we were trained both in theory as
well as in practical lessons. With the knowledge of photography that I obtained from this training, I amvery much confident that I will be able to take photographs that will yield an abundance of information
which in turn will help not only with my work at present, but also for anyone who will have access tothe photographs for their work in the future.

39

6. Sonam Tenzin
Cultural Officer
Archaeology Section
Division for Conservation of Heritage Sites

Bhutan is the only country in the world left with rich cultural and heritage sites untouched. However,being a developing country, the utilitarian and sensual value of the agelong preserved intangible
and tangible cultural heritage is now being lost without notification to higher authorities during
construction (the building of roads, commercial and residential buildings). Due to the degeneracy ofthe current age, the younger generation does not value the essence of our cultural heritage buildings,
the architectural design that has been built in typical Bhutanese style from the early 12th century.
Despite the sovereignty and the inner wellbeing of the country, the indigenous is being diversified by
the commercial interest.
In line with the above statement, the Workshop 2015 for the Protection of Cultural Heritageat Thimphu, Kingdom of Bhutan, was held by the ACCU Nara Office in cooperation with the
Department of Culture, Ministry of Home and Cultural Affairs, Royal Government of Bhutan. The
weeklong training has an impact on protecting typical Bhutanese architectural designs and preserving
tangible and intangible cultural values in the country. By teaching the functions of the camera, it
has served in managing the detailed photographic data documentation of cultural properties. Since
photo documentation is a crucial element in preserving and promoting heritage sites, the workshop
ended up providing clear information in using the camera and its settings. I found this workshop
handy as the lecturers imparted valuable information on how to use camera, such as adjusting the
shutter speed, aperture, depth of the field, and lighting. Though the workshop period was too short,
like a bee gathering a pin tip’s worth of honey for its meal, training of longer duration in this area
could professionalize the field. Given this opportunity, I am a little better equipped for basic usageof the camera, despite my errors. However, this workshop will benefit documentation in the field ofarchaeology, monuments, and moveable cultural properties of the country, since the Department ofCulture is mandated to conduct such documentation. Further, I found that handling the camera withcare is equally important in using the camera in the field. I came to know a few of the functions of
the camera by attending this training. Thus we look forward to having such training and workshops
in future, for further preservation and documenting the important cultural properties for our future
generations.

40

7. Sonam Gyeltshen
Administrative AssistantDivision for Conservation of Heritage Sites

A significant part of Bhutan’s history is still in oral form, deprived of records and documentation.
Recorded history took shape only from the 7th century with the advent of Buddhism in Bhutan.
Photography was known only from the time when British Indian missions came to Bhutan, and black
and white photographs taken by the missionaries are still visible in the pages of Bhutan historic
writings, which are actually worth preserving, to treasure our past.
This first ever workshop on the protection of cultural heritage through photographic documentation has
provided a very useful platform for learning photographic techniques, which has definitely enhanced
our capacity by making us better photographers. The workshop on photographic documentation
techniques has bestowed enormous knowledge in the field of photographic technology needed todigitally record, document, and conserve our cultural heritage, so that a well made record of therichness and uniqueness of our cultural heritage is left behind for our future generations to glorify theirpast with pride.
Bhutan has several historic ruins distributed across the country that have beautiful stories to tell. But
that’s only on the surface and what is held underneath is still a mystery for us to discover througharchaeology and proper photographic documentation. There are many cases where ruins and pricelessobjects are increasingly uncovered while executing civil and agricultural works, as 72.5 percent of
Bhutan is still under forest cover. Bhutanese professionals prior to this workshop had never done
proper photographic documentation of cultural properties, monuments, and archaeological finds. But
now that we are trained and taught, we assure you that the photo documentation of cultural heritage
from hereafter will never be the same. Our heartfelt gratitude goes to the ACCU Nara, Japan, fortheir generous support and endeavors in coming to Bhutan to train us, to teach us the secrets of thecamera…we now remain enlightened, better trained and equipped for operating the camera andproducing good photographs that would speak thousand words to the viewers.

41

8. Tenzin Wangchuk
Record AssistantNational Conservation Laboratory Construction Project
Division for Conservation of Heritage Sites

First of all I would like to express my heartfelt gratitude to the Asia-Pacific Cultural Centre for
UNESCO (ACCU) Office, Nara, Japan, for selecting our country Bhutan (Land of Thunder Dragon)
for 2015’s Workshop on the Protection of Cultural Heritage in the Asia-Pacific Region.
The week-long training began on 26th October 2015 with the opening ceremony graced by the
National Speaker of Bhutan, His Excellency Jigme Zangpo followed by the marchang ceremony, andright after the ceremony the participants were divided into two groups, Group A and Group B, with
10 members each. Then Group A was assigned to the documentation of traditional structures based at
Semtokha Dzong and Group B to the documentation of movable cultural properties within the National
Library and Archives of Bhutan.
During the entire workshop we were taught the techniques for traditional photography both in practiceand theory, as well as digital data management and utilization. Particularly the presentation/group
discussions, and the activity on using a gray card to get true the color of a photo was interesting,relevant, and useful for my professional field. I felt the need for more guidance in the documentationof movable cultural properties which was taught to Group B, which I could not learn due to time
constraints, so I felt that we need at least a month-long time for the same course of training.
After attending this workshop I have learned the ideas and techniques of taking photographs of culturalproperties which I never knew before, though I have taken many cultural properties photographs forboth structures and movable properties. Especially the mode and settings of the camera were lost onme; I had seen on the camera the settings of Auto, P, AV and TV but never used any except the Automode, resulting in very poor quality photographs, and always wondered why my photographs werelike that. But hereafter I will not make/should not make the same mistake and really can take very
good quality photographs using the right mode in different conditions with different settings.
Therefore, I really want to thank the ACCU office and staff for giving me this wonderful opportunity
to attend the workshop, which really enhanced my knowledge and skills in taking photographs ofcultural properties as I never had before. This kind of workshop would be relevant and useful for our
future employees on a regular basis and also in the form of refresher courses with advanced changes
and improvements. Arigato gozaimasu, Tashi Delek

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9. Dechen Yangzom Nedup
Architect
Wangdue Dzong Reconstruction Project
Division for Conservation of Heritage Sites

In this collaboration between the Asia-Pacific Cultural Centre for UNESCO (ACCU) Nara and theMinistry of Home and Cultural Affairs (MoHCA) Bhutan, the workshop on photography of culturalproperties personally proved to be a highly elucidating and relevant learning experience for me. I
would like to thank everyone involved with this workshop for allowing me and my colleagues to learn
from such great experts.
In my office, we are tasked with the very important duty of the renovation and restoration of national
heritage sites. However, an often overlooked aspect of carrying out our responsibilities effectively is
the comprehensive and effective documentation of the work we undertake before and after completion.
Prior to this workshop, when I had to document the state of a project that was ongoing, I would use mylimited camera skills to try to capture as much as I could of the current status of the work. However
I often felt that I did not effectively document the site and would supplement my photographs withnumerous and exhaustive sketches. This had some very obvious shortfalls. Firstly, it took an inordinate
amount of time, as I had to sketch aspects of the site from various angles and in great detail. Secondly,
as expected I would sometimes miss out small but important features of the site. Finally, taking thephotographs with my limited skills did not result in much addition of value, and in fact felt like a zero
addition of worth at times.
From the very start of this workshop, I perceived the great value of the DSLR photography techniquesand concepts that we would cover. Though I had heard of shutter speed, ISO, and aperture, I did notknow how interrelated they are in affecting the outcome of a photo. For example, if I were to use an
aperture of f/8 on a bright, sunny day, I would have to use a very fast shutter speed of 1/200 or more.
This is because with a faster shutter speed, there will be less time for light to enter the camera sensor,
allowing us to see a clear image, rather than one washed out by the excess light. This had happened
to me as recently as a few months back at a restoration project at Tango Monastery. Bright and sunny
weather resulted in me taking photos that were washed out and not very useful in documentation.
This is just one of the many skills that I gleaned from this very valuable workshop. Armed with thisnew knowledge, I am sure that I will be able to greatly enhance my ability to document our national
heritage sites with accuracy, efficiency, and utility.

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10. Ugyen Lhachey
Project Engineer
Gasa Dzong Conservation Project
Division for Conservation of Heritage Sites

My sincere appreciation goes to the Asia-Pacific Cultural Centre for UNESCO (ACCU), Nara,for organizing a workshop on Cultural Heritage Protection in Bhutan on the theme “Photographic
Documentation of Cultural Heritage.” I would also like to thank the Division for Conservation of
Heritage Sites, Department of Culture, for organizing a workshop that is more important than theregular content of our academic background.
Photography is actually a creative hobby which helps us notice the world around us. Through theweeklong training program, I have gained knowledge on the basics of photography and the practicalusage of the DSLR camera. We learned the functions of different modes of the camera and manyother terms such as aperture, shutter speed, depth of field, color temperature, digital image saving
format, and ISO sensitivity. Additionally, we learned how to manage data and to save digital records
on different media. It is desirable to save the important documents for cultural properties both as hard
media and as digital media, which is the so-called practice of “hybrid saving.” This ensures that thedata can be used generation after generation for reference.
The significance of this training program is in the practical usage of the DSLR camera for the
documentation of cultural properties, which needs to be conducted during conservation work
especially for Dzongs, temples, and other heritage monuments. It is indeed a great opportunity to havesuch a training program, most specifically in the field of conservation work, under the Department ofCulture, and we hope to see similar programs in the future. Therefore, I would like to acknowledge theinnovative ideas, feedback, and experiences shared freely by the team of the ACCU Nara Office.

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11. Daza
Library AssistantNational Library and Achieves of BhutanFirstly, I would like to thank the Cultural Heritage Protection Co-operation Office for ACCU (AsiaPacific Cultural Centre for UNESCO), Nara, Japan, for giving me the opportunity to participate in thistraining.
The training started with an opening ceremony graced by the Chief Guest, Dasho Jigme Zangpo,
Speaker of the National Assembly of Bhutan, followed by a welcome speech by the Director,
Department of Culture, and a short speech on the ACCU’s functions by the Director of ACCU.
After the ceremony, we were briefed on the introduction to photographic documentation of culturalproperties.
Next, the instructor gave us an introduction to photographic techniques for moveable culturalproperties in the morning session. In the afternoon session, we did practical training on photographic
techniques for moveable cultural properties.
From this training we learned about the importance and usage of: the aperture, shutter speed, andwhite balance; the erection of a platform for the photography of statues, wood blocks, sutras, thangkas
and other objects; the usage of tracing paper, white and silver paper, black cloth, and lighting; themanagement and utilization of digital data, and guidelines for the preservation of cultural properties
photographs centering on digital records.
Lastly, I have gained a lot of knowledge about digital cameras from this training and it will go a longway for me in developing and improving the methods and quality of photographs, and in preserving
them. Now I will be able to undertake and perform my work better than before. I sincerely thank theexperts from the ACCU, Nara, for enlightening me about the digitization of photography and hope forsimilar training in the future.
Thank you.

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12. Nima Gyeltshen
Senior Communication Technician
National Library and Achieves of BhutanFirst of all, I would like to thank the Cultural Heritage Protection Co-operation Office for ACCU
(Asia-Pacific Cultural Centre for UNESCO), Nara, Japan, for giving me the opportunity to participate
in this important training.
The training started with an opening ceremony that was graced by the Chief Guest, Dasho Jigme
Zangpo, Speaker of the National Assembly of Bhutan, followed by a welcome speech by the Director,
Department of Culture, and a short speech on the ACCU’s functions by the Director of ACCU. Thiswas followed with the signing of a memorandum of understanding (MoU) between the ACCU Nara
Office and the Department of Culture, Bhutan.
After the ceremony, we were given a brief introduction to the photographic documentation of culturalproperties. This was followed by an introduction to photographic techniques for moveable culturalproperties in the morning session. In the afternoon session, we did practical training on photographic
techniques for moveable cultural properties.
From this training we learned about the importance and usage of the aperture, shutter speed, and whitebalance, the erection of a platform for the photography of statues, wood blocks, sutras, thangkas andother objects, the usage of tracing paper, white and silver paper, black cloth, and lighting, and about
digital data management and utilization and guidelines for the preservation of cultural properties
photographs centering on digital records.
I have gained a lot of knowledge and ideas about digital cameras from this training and it will go along way for me in developing and improving the methods and quality of photographs and preserving
them. I will be able to make good use of the knowledge and ideas gained from this training and put
them into practice in a good way. I would like to offer my heartiest gratitude to the experts from the
ACCU, Nara, for enlightening me about the digitization of photography, and I hope for similar training
in the near future too.
Thanking you.

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13. Ugyen Chophel
Photographer
Division for Cultural Properties

Bhutan is a country well known for its rich and diverse cultural heritage. Over time it has been
increasingly observed that the value of culture or culture in its entirety has been depreciating andbecoming endangered. One of the timely interventions to safeguard this country’s rich cultural heritage
has been a weeklong workshop on protecting cultural heritage through photographs. The photographic
documentation workshop mentored by officials from the Cultural Heritage Protection Corporation
Office, Asia-Pacific Cultural Centre for UNESCO (ACCU), Nara, Japan, not only covered the basics
of photography, but also technical aspects of photography and documentation. The standardization ofphotographic documentation was also one the central themes of this workshop.
The workshop shed light on the many advantages photography offers for the study of culturalproperties. Besides its basic function of storing data and keeping records for an extended period oftime, the workshop focused on how photography could play a vital role in preserving and restoring
our country’s rich culture and tradition. The workshop gave special attention to a photographic
topic related to cultural properties which in particular is indoor photography. The participants werealso adequately trained on pragmatic and technical aspects of the photography of moveable culturalproperties and traditional structures. The other technical aspects such as digital data management andutilization were also taught to the participants.
I would like to express my utmost appreciation and gratitude to the entire team from the Cultural
Heritage Protection Corporation Office, Asia-Pacific Cultural Centre for UNESCO (ACCU), Nara,
Japan, for this noble initiative. I am no longer an ordinary photographer but a photographer who can
professionally take pictures of historical materials and document them. My additional knowledge
on different types of lighting techniques, saving formats, and other technical aspects such as
exposure, shutter speed, and ISO sensitivity will definitely be a huge help in my career. I pledge to
use all this knowledge to the best of my capacity in fulfilling my Department’s mandate to promote,protect, preserve, and restore cultural heritage and historical materials through the means of cultural
photography and documentation.

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14. Dechen Cheki
Conservation AssistantDivision for Cultural Properties

The international training program on Protection of Cultural Heritage of ACCU, Japan, gave me a good
opportunity to learn by attending this training. This training program provided me with photographic
skill enhancement, with both theoretical and practical content.
As a central conservation lab, we receive a lot of ancient objects which have historical importance.
Our main purpose is to make good documentation of the objects for our present and future records.
Before, to me photography was just a matter of clicking the shutter and trying to get clear pictures, but
after this training I have learned about the following.
1.

Understanding of digital cameras

2.

Shooting mood and white balance3.

Exposure

4.

Understanding of the aperture, shutter speed, and ISO

5.

Kinds of lens, and

6.

Importance of light in photography.

What I have gained from this program will positively contribute to my work. I really hope this kind of
training will be expanded and continued, if more people like me are able to attend to learn new things
it will be a great benefit to all.
All of the instructors were kind, helpful and co-operative. I would like to thank all the ACCU team.
“May the Noble Triple Gem shower it’s blessing on you all, for many more years, that you be a Towerof Strength for the Future”

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15. Norjai Wangdi
Record AssistantDivision for Cultural Properties

During the past six days I have learned all about basic photography, I also learned how to keep
photographic documentation. The course was very intensive and a lifetime opportunity for me to learn
all about photographic documentation of moveable cultural properties. This course will help me in mywork while working on records of cultural properties from now on.
I look forward the similar courses in the future and I would like to thank all the visiting ACCU expert
team members from Japan for imparting us skills and knowledge on photography, and I am thankful to
the DCHS team for rendering us support during the course.

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16. Lobzang Norbu
Photographer
Paro Museum

The protection of cultural heritage properties is the most important task in preserving tangible andintangible culture for the country’s identity. It has been my privilege to participate in this weeklong
training on how to protect and preserve culture properties through photographs, organized by the
ACCU Nara Office.
In this workshop, I learned many new things which are very helpful in the field of photography.
Work with the camera settings, uses of lighting, setting up the studio, study of colors, etc., and how
to photograph different objects from different angles in perfect focus. I learned how to bring out thegood qualities in the photography of cultural properties, and how important photography is in thepreservation of culture properties. These ideas and knowledge will improve the quality of my work inarchiving, recording, and publishing, so I felt this training has been most fruitful and productive.
In this weeklong training I came to know that photography is very important in the preservation andprotection of cultural heritage properties. I would like to thank the team of specialists from the ACCU
Nara Office for conducting this training in Bhutan, and for their utmost efforts to make the content
very understandable for the participants and the training successful.

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17. Chimmi Wangmo
Museum AssistantParo Museum

Beginning 26 October 2015, a six-day long workshop on the ‘Protection of Cultural Heritage in Bhutan
through Photographic Documentation’ was organized by the ACCU Nara Office. The participants werefrom different institutes under the Department of Culture, MoHCA. The workshop took place at the
National Library in Thimphu, Bhutan, and there were 20 participants in total.
As one of the participants and I was very glad to receive the training in this type of workshop, as I
gained much knowledge about how to handle cameras; therefore my heartfelt gratitude goes to theofficials from the Cultural Heritage Protection Corporation Office, Asia-Pacific Cultural Centre for
UNESCO (ACCU), Nara, Japan, for conducting such a workshop. To be frank if such a workshop
had not been given to us I would still lack so much knowledge about cameras, such as how to use acamera in the best manner, where to use it, what its function is, and so on. And not only that, I also
got knowledge about protecting our cultural heritage through photographs. The instructors were goodenough to make everything understandable, so I am very grateful to them for making this workshop
very interesting, meaningful, and successful on its completion. Once again I would like to thank the
ACCU team.

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18. Chencho Wangdi
Musician
Royal Academy of Performing Arts

The workshop organized by the ACCU for the duration of about one week, which was held from 26 to
31 October 2015, centered its aim on providing the trainees with knowledge and skills on the usage ofhigh quality digital cameras and on sharpening their skills to help preserve cultural properties throughthe visual medium of photography.
The professional instructors had the task of teaching us various ways to capture the tangible andintangible arts of the nation, by guiding us on the usage of the tools and skills of photography throughsimple tips.
I was honored and privileged to benefit from this golden opportunity to attend the workshop as I could
learn and explore the various ways and techniques of using a camera not only for photography but also
as a profession which would benefit both the nation and my Academy as well. I really felt that taking
pictures does not mean that a person is an expert in photography, but one must know the right purposeof taking a picture. For instance, if a person takes a picture of a sacred mask, he must keep in mind
to capture its significance and details in order to preserve its own beauty and not distort its originality
for future generations. With this new knowledge of photography, I can preserve and promote theimportance of the arts and traditions of our country.
I will try my best to make my knowledge useful to our administration and share my experience topreserve our performance through the visual medium of pictures.

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19. Tshering Penjor
Driglop
Driglam Section

First of all I would like to convey my heartfelt gratitude to ACCU Nara, and the Division for theConservation of Heritage Sites under the Department of Culture, Ministry of Home and Cultural
Affairs, for organizing such an important workshop and also giving me the opportunity to participate
in it. I am very proud and privileged to participate in the workshop on the protection of culturalproperties, which is very relevant to my job.
In this workshop, we learned a lot in the process of taking photographs of cultural properties. After
participating in this workshop, I came to know that the light alignment is one of the most importantparts of photography. I also learned that we can arrange the basic lighting requirement in the processof the photography with easily available local materials. I obtained basic knowledge about setting theISO, aperture and the shutter speed values to ensure better quality for the picture. We were also taught
about different methods for saving digital records such as digital photographs, regarding the preferredrecording media, preferred file format, storage location of digital data, and data maintenance. We
learned about file management with regards to photography, precautions to be taken while preparing
digital photographs, and other important topics. We also learned how to maintain and clean up ourcameras in a professional way.
This workshop will benefit me in the following ways:-

To bring better quality to photographs of any kind.

-Use of different tools to set the lighting effects on the object to be photographed.

-Different methods to handle the materials used in photography.

-

Importance of light alignment in photography.

We could have learned much more if the workshop had been for a longer duration. Though there
was a minor language barrier between the instructors and the participants, we remain very gratefulto the instructors for putting all of their efforts to bringing their knowledge and thoughts into ourunderstanding, which made the whole program very productive and interesting. Lastly, I would liketo congratulate the team from the ACCU and the Department of Culture in Bhutan for successfullycompleting such a wonderful workshop, and we also look forward to have such training and refresher
courses in the near future.

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20. Tshewang Gembo
Assistant Curator
Textile Museum

Date and Venue
The training workshop took place 26–31 October 2015, at the National Library of Bhutan.
The Training Workshop
The workshop was opened by the National Speaker of Bhutan, who welcomed the participants andremarked on the importance of the protection of cultural heritage in the Asia-Pacific region.
Outcomes of the Training Workshop
From this workshop for the Protection of Culture Heritage in the Asia-Pacific Region 2015, I havegained many thing regarding photographs and cameras. I have learned how to operate the camera andhow to take photographs of artifacts and so on. Without any knowledge of the camera, we cannot takegood photographs of artifacts. There are three main important aspects to note for taking a photo: 1)
the aperture, 2) shutter speed, and 3) ISO setting. We should know how to adjust these three according
to the conditions when we take a photo. I have also learned how to correct the white balance for thecamera, and I also even learned how to make a very simple studio by using local equipment (i.e.
PVC pipe, white sheet paper, wire, tracing paper, glass, hook, blub, lamp shade, plywood, cello tape).
The white balance is important in taking photographs of artifacts. We learned how to take photos of
3-dimentional objects like books, thanka, and so on. We also learned how to maintain the camera andhow to keep it clean. I am very thankful to the team from Japan for giving this interesting training on
the camera and photography. I hope to get more training on the camera and photography in the future.

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IV. Appendix

Dochula1. Participants
1

Sangay Kinga
Archaeology Section, DCHS, DoC

2

Nidup Tshering
Wangdue Dzong Reconstruction Project, DCHS, DoC

3

Yeshi Samdrup
Trashigang Dzong Conservation Project, DCHS, DoC

4

Pema
National Conservation Laboratory Construction Project, DCHS, DoC

5

Dendup Tshewang
Division for Conservation of Heritage Sites, DoC

6

Sonam Tenzin
Archaeology Section, DCHS, DoC

7

Sonam Gyeltshen
Division for Conservation of Heritage Sites, DoC

8

Tenzin Wangchuk
National Conservation Laboratory Construction Project, DCHS, DoC

9

Dechen Yangzom Nedup
Wangdue Dzong Reconstruction Project, DCHS, DoC

10Ugyen Lhachey
Gasa Dzong Conservation Project, DCHS, DoC

11

Daza
National Library and Achieves of Bhutan, DoC

12

Nima Gyeltshen
National Library and Achieves of Bhutan, DoC

13

Ugyen ChophelDivision for Cultural Properties, DoC

14

Dechen Cheki
Division for Cultural Properties, DoC

15

Norjai Wangdi
Division for Cultural Properties, DoC

16

Lobzang Norbu
Paro Museum, DoC

17

Chimmi Wangmo
Paro Museum, DoC

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18

Chencho Wangdi
Royal Academy of Performing Arts, DoC

19

Tshering Penjor
Driglam Section, DoC

20

Tshewang Gembo
Textile Museum, DoC

2. Instructors
NAKAMURA Ichiro
Official Research Photographer
Photograph Section, Nara National Research Institute for Cultural
Properties (NNRICP)
247-1 Saki-cho, Nara 630-8577 Japan
Tel: (+81) 742 30 6838 Fax: (+81) 742 30 6859
ichiro@nabunken.go.jp
SUGIMOTO Kazuki
Archaeological Photographer
Saidaiji Photo Studio4-28 Saidaiji Honmachi, Nara 631-0816 Japan
Tel/Fax: (+81) 742 33 0267
higeji@nabunken.go.jp

3. Interpreter
SOHMIYA Ayako
Freelance Interpreter

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4. Assistants
Phuntsho Wangmo
Engineer
Division for Conservation of Heritage Sites
Department of Culture

ISHIDA Kasumi
Senior Architect
Division for Conservation of Heritage Sites
Department of Culture

5. Organisers
Division for Conservation of Heritage Sites(DCHS),
Department of Culture, Ministry of Home and Cultural Affairs
Kawangjangsa, Thimphu, Bhutan
Telephone: Director: 00975 -2-322001, EPABX: 00975 -2-322694/325116/325118/322284
Director, Fax: 323040, DCHS Tele-Fax: 321285, DCP, Fax: Box No: 233
http://www.heritagesites.gov.bt
Cultural Heritage Protection Cooperation Office,Asia-Pacific Cultural Centre for UNESCO (ACCU)
757 Horen-cho, Nara 630-8113 Japan
Tel: (+81) 742 20 5001Fax: (+81) 742 20 5701
nara@accu.or.jp
http://www.nara.accu.or.jp

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6. Staff Members, ACCU Nara Office
NISHIMURA Yasushi, Director
TAMAKI Shigeru, Deputy Director
NAKAI Isao, Director, Programme Operation Department
WAKIYA Kayoko, Director, International Cooperation Division
HORIKAWA Kazuko, Chief, Planning & Coordination Division
SAKIMOTO Keiko, Chief, International Cooperation Division
NISHIDA Michiko, Staff, Planning & Coordination Division
SHIMOMURA Nobuhito, Staff, International Cooperation Division

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61

Group photo at Opening Ceremony

62

Memorandum of Understanding