Master’s in Photography, Digitisation and Archiving of Motoring Heritage
Online master's programme of 1,900 hours in photography, digitisation and archiving of motoring heritage. 12 modules covering digital imaging, lighting, documentary photography, digitisation of documents, historical photographs and film, 3D digitisation, colour management, metadata, digital preservation and rights, with an assigned technical tutor.
Master’s in Photography, Digitisation and Archiving of Motoring Heritage — studying from the United States
Restoration and classic vehicle engineering is a niche but active field in the United States, supported by a large enthusiast community and well-established events such as the Pebble Beach Concours d'Elegance and Hershey's AACA Fall Meet. Specialist restoration shops, museums and collector car firms require engineers who understand historic materials, mechanical systems and period-correct design. Work often combines traditional craftsmanship with modern diagnostics and documentation. Professional connections are typically built through clubs and heritage organizations.
Fees for the United States: US$9,970 (US Dollars), with instalments and employer sponsorship available.
Relevant bodies in the United States
Typical roles
Questions from the United States
Is there formal professional recognition for classic vehicle restoration in the US?
Restoration is mostly a craft and hobby sector without a licensed engineering title. Relevant organizations include the Antique Automobile Club of America and the Society of Automotive Historians. Some work touches on SAE standards and state vehicle inspection rules. SEIUM's qualifications are private, and their value depends on the client or employer.
What career options exist in classic and restoration work in the US?
Options include independent restoration shops, dealerships specializing in classic cars, auction houses, museums, and collector-focused consultancies. Roles range from restoration technician to project manager. Because this sector values reputation and craftsmanship, portfolios and references often matter more than formal credentials.
Can I study this part-time while working in the US?
Yes, the programmes are fully online and taught in English, so you can study from home and no student visa is needed. Workloads run from 300 hours for specialist courses to 1,900 hours for master's programmes. Fees are payable in instalments, and you can plan study around your existing work commitments.
Take the controls.
Run a real engineering trade-off from this field. Move the sliders, watch the model react in real time and beat the challenge.
What you will be able to do
Master high-quality digital capture for motoring heritage.
Digitise documents, drawings and historical photographs to international standards.
Carry out 3D digitisation of vehicles and components.
Preserve and restore historical audiovisual material.
Control image quality with objective metrics.
Catalogue and preserve digital archives over the long term.
Manage rights and dissemination of photographic archives.
Who it's for
- Heritage digitisation technicians.
- Photographic archivists.
- Industrial heritage photographers.
- Brand archive managers.
- Digital preservation specialists.
- Museum imaging managers.
- Engineering or science graduates looking to move into car manufacturers' archives.
What you'll work with
- ISO 19264-1 (image quality analysis for cultural heritage imaging)
- FADGI Technical Guidelines for Digitizing Cultural Heritage Materials (digitisation quality levels)
- ISO 14721, OAIS (reference model for digital archives)
- Metamorfoze Preservation Imaging Guidelines (preservation imaging)
- ISO 15076-1 (ICC colour management profiles)
- ISO 15444-1, JPEG 2000 (image compression format)
- IPTC Photo Metadata Standard (photographic metadata)
- Royal Legislative Decree 1/1996 (Spanish Intellectual Property Act)
- Capture One
- Agisoft Metashape
- Archivematica
- DaVinci Resolve
- Adobe Lightroom Classic
12 modules
1.1Sensors and digital capture1.2Spatial resolution and sampling frequency1.3Lenses and aberrations1.4Depth of field and diffraction1.5RAW format and bit depth1.6Noise and dynamic range1.7Modulation transfer functions1.8Medium-format and multi-shot cameras1.9Equipment calibration1.10Practical exercise: characterisation of a capture system
2.1Continuous and flash lighting2.2Large-format diffusers2.3Chromed and painted surfaces2.4Cross-polarisation2.5Raking light for textures2.6Lighting vehicle interiors2.7Uniform colour temperature2.8Safety of objects under light2.9Lighting set-ups for catalogue and archive2.10Workshop: lighting a complete vehicle in the studio
3.1Photographic recording protocols3.2Standardised views3.3Plates, numbering and markings3.4Documenting restorations3.5Condition photography for loans3.6Scales and colour charts in the shot3.7Ultraviolet fluorescence3.8Photography in stores and museums3.9Recording loose parts3.10Practical exercise: documentation protocol for a vehicle
4.1Planetary and large-format scanners4.2Resolution according to type of original4.3FADGI quality levels4.4Metamorfoze guidelines4.5Handling fragile documents4.6Large factory drawings4.7Catalogues, manuals and brochures4.8Optical character recognition4.9Image stitching by mosaic4.10Lab: digitisation of factory drawings
5.1Nitrate and acetate negatives5.2Glass plates5.3Slides and transparencies5.4Scanner versus camera reproduction5.5Inversion of colour negatives5.6Historical processes: albumen and gelatin5.7Handling and conservation5.8Identifying deterioration5.9Dating photographs5.10Practical exercise: camera reproduction of glass plates
6.1Close-range photogrammetry6.2Arm-mounted laser scanner6.3Structured light6.4Point cloud processing6.5Meshes, retopology and textures6.6Accuracy and scale6.7Digitising bodywork6.83D exchange formats6.9Publishing models6.10Workshop: 3D model of a classic engine
7.18, 16 and 35 mm film7.2Film scanning7.3Digital image restoration7.4Analogue videotapes7.5Recording engine sound7.6Audio restoration7.7FFV1 and Matroska preservation formats7.8Audiovisual metadata7.9Rights in filmed material7.10Lab: scanning a 16 mm reel
8.1ICC profiles8.2Target charts for heritage8.3Quality analysis according to ISO 192648.4Colour error metrics8.5Lighting uniformity8.6Automated quality control8.7Monitor calibration8.8Print proofing8.9Documenting quality8.10Practical exercise: quality analysis of a digitised batch
9.1EXIF, IPTC and XMP metadata9.2Dublin Core9.3LIDO schema9.4PREMIS preservation metadata9.5Thesauri and authority files9.6Linking image and object9.7Indexing people and places9.8Technical metadata9.9Quality control of records9.10Practical exercise: cataloguing a photographic collection
10.1OAIS model10.2TIFF and JPEG 2000 formats10.3Storage in multiple copies10.4Checksums and integrity10.5Format migration10.6Repositories and Archivematica10.7Preservation policies10.8Costs and sustainability10.9Disaster recovery plan10.10Case study: design of a motoring archive repository
11.1Intellectual property in photographs11.2Orphan works11.3Creative Commons licences11.4Public domain and reproductions11.5Dissemination with IIIF11.6Aggregation in Europeana11.7Commercial exploitation of archives11.8Images for auctions and the press11.9Personal data protection11.10Case study: licensing model for a brand archive
12.1Defining the collection or holding12.2State of the art12.3Digitisation plan12.4Capture and quality control12.5Cataloguing and metadata12.6Preservation plan12.7Dissemination and rights plan12.8Results and conclusions12.9Master's Thesis report12.10Master's Thesis: defence before a panel
How you'll learn
The programme is delivered 100% online on SEIUM's campus, with downloadable material, recorded classes and an assigned technical tutor. There is no fixed timetable: you progress at your own pace within each intake, making it compatible with work.
Each module combines theory, guided reading of the original standards and applied exercises. The working software is Capture One, Agisoft Metashape, Archivematica, DaVinci Resolve and Adobe Lightroom Classic, in free, academic or evaluation versions. Practical work is based on real procedures: digitising a collection of glass plates, image quality analysis according to ISO 19264 and creating a preservation repository. Assessment is continuous by module, plus the Master's Thesis.
Standards covered: ISO 19264-1, FADGI Technical Guidelines for Digitizing Cultural Heritage Materials, ISO 14721 (OAIS), Metamorfoze Preservation Imaging Guidelines, ISO 15076-1, ISO 15444-1 (JPEG 2000), IPTC Photo Metadata Standard, Royal Legislative Decree 1/1996 (Spanish Intellectual Property Act).
Build it end to end
Your final project follows the real engineering workflow, step by step, reviewed by your tutor.
Where this takes you
Requirements
- A university degree in engineering, science or architecture, or equivalent demonstrable professional experience.
- An internet connection and a computer capable of running the programme software.
- English sufficient to read technical standards.
Ready to start?
Send your application today. Our admissions team replies within 72 hours with your study plan and funding options.
Frequently asked questions
The programme totals 1,900 hours over 12–14 months. You set your own pace within each intake, and your tutor helps you plan the workload around your job.
You work with Capture One, Agisoft Metashape, Archivematica, DaVinci Resolve and Adobe Lightroom Classic, using free, academic or evaluation versions. Your tutor indicates the free alternative wherever one exists.
A SEIUM Institute diploma, awarded on passing the continuous assessment and the Master's Thesis. It is SEIUM's own qualification, not an official state degree; its recognition depends on the programme completed and the regulations of each country.
Yes. Modules passed in a course or postgraduate diploma in the same area are recognised in the higher programme. Ask about the recognition policy when you enrol.
A university degree in engineering, science or architecture (or equivalent demonstrable professional experience), a computer able to run the programme software and English sufficient to read technical standards.
Start dates are set by SEIUM's faculty for each intake. Our admissions team will confirm the next available date when you apply.
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